; 
4 


srabah at 


of 
evtiael i 


side male a ee 
ae Habdetthst aad It 


aye oa Ady 
{ hina i i 
: t ; f big pent ih ei iy far ee “pos 
a a, siatypnaa] “ri i it ay ah Ae ee Ai alee 
ng he her als etal ny ba 13 wootad hy Bsc) 
By pat i 4 Au vif) bins) eae a i pa ape e 


lay hte Hh he Wea ed 

ao) lathe in bla tat ane se aks ke He 

ale baits tail ia stoisanata it nih iis ai) rt fore 
3 if 


1 ud pti abe Sty hea i | 1H iantahsy ie ie Behera ited 
ute ies falda i ete oi felateha tal stek say 
f° He Er Halts iste ate Het ihe ish i 
ati att teletaeis ide 


a 2 i a 
Felaass 


se mel 
Danae Hobie 


i 
1 } fl aeite niet Heels id ee aul at bae 
i i! vil hit rin. ae iy He etal 
1 f : : ceerats 
i. pease ie ath this ad = ne 
ey Aa | ane vikgh 
Walaa’ 


ane Hives 


Hees 


We ad 
ae 
SRST AGEL sous by tale 


ty) 
Hadi hed 
sf Heese 
¥ a * 
ad dei leh He 


Misi Ve pe 


ie ae as a 


ae 
eit 
| itt ‘ Hai 
} 34 RE a 4 
tes ait is nit i Heth iW Bn ir 
bir Maa A ete Hit) ae at Ld aie 
EA ec 
i Praised riers i ¢ fi eet a ot it 
& 
) i Mt ti oat Cen 1) v4 rH bat 
: ul ef reo eta Saal Peg i 
i tatty Nara 8 it 
i Hatt if i aay os Hue os san | 
iF { pe aeri i Ni of H a tieaaa i un : ed wale ae i 
7 ite i in ey a ike ua i i ie t rf Raat a a cane i 
i} eat ‘iis i i Lue i ete aie fe Haka 
oi eta Ved } ier eye wet i aoa va PutiRe of ‘ne ‘ 
ne Ae Peas: is i an i AM Wer FH uy F an fi Hl i React abate i fave 
say { oe i a daca iy Haile iedaiy 
: Hi t ma ok avait eaeeseiaealsy 
! ote 


u 
4 


ay og ihink 


Par ay 
Aa) ibe Ap uliae LE a 


Sastnes : 
a \ a M Hy i . r 
aya} enn ie EASE pee " ire ‘ye beat 

bl oe a ia 


i h 3 
a ay i u 


je that at + 
ee ae 
ne Aids ioe 
+i 


auth 


a 


| 


aad 
rath 


Ae 1 
fe ie 


sent 
i i 
i a 
a a ity a ce 
a ty i ean i dart an 
P Path init See eat: aah ‘A 
al ek ni altar ry i ae Wls6a a ai 
Milani iets Hee at 
i ae mea ae Hi ne 

at j 


ae eer 
oie 


| a . 
ita: i ‘i a 


i ‘ 
Att 

re a 
io Hee i 
eit ay 


SS 
aant = = ~ 


fi 
Lbs is ite a H J 
4 ba ith ie ny Gn aout a5 
oes : a a ie mts 
reer | | ie ut 


Vee Mla es) 
Biante 
sAtnt 


(albaneh ea 


mt Jet 
batt obi tay 
Sits a 


Ps ait Beans 
eet Aba f 
nee ee 


i aie hath 
ae i 


sib a 
bat i a it 


it + 


4} i o 
nk i at AMD a 
\ ih ai teat 
uy 


snes 


i i“ one oe = 


Pea 
i Cen Cee hie 
stitial doit i‘ i STS dauanee a hinge ih 
| en au i Me a Ln 
a i ae ae cas a a aed oi 
tater aytenne eae a fe oe : 


eee 


Secon > sete 
Se Satie: 
pea a catn eS ee Sa 
See 
rer ee! 
een egy TSS 


= 


sareae. 
ae 
Stites. 
SES a 


abst aunt ( in I ae ri rth 1 ; 
eae ae pee ie if Le ae i fa i i Pe : 
tee aly rage ate nis ote ie isi ie a elt t, 
pire ssbas 


ba iM 
4) 
i a ay hn hi) ue rind i the is aaa 
ih 


“iba 


< 
Sea Ee eS 
: SS pe 
ae sesceses 
fa aes He 


Ahad y 
oo 


i-hadh 


at Tite i oH) 
a anomaly 
AGE 
: 


i Ghee a dae a ahi yee ead 

+. Ea eatin iat Beata Hy iene i he te He ak 
i a At its hau ay a af t oe ee ie ao Nat ti i ina ie 
Bee ii 5 pM bE: Hiss ia 7 Gate ny Sp LaV Hib is ty hs he 
i Sralial shat nie a tk He cad tbe mi ae ae oe mat a Sa ane nt ath Hh wi tlt 
, j ‘+ ‘ ‘ Heth a4 Hirt 1s aes age di ih pitt i } hee i rt 

; tales ibatt ebb Ln Ubu Ww piers 
4 aati GAA URL HORTTR aE USN Ut prattr canna Aan A La a tT 


¥ 


as 


mT 


SALE AIT MENDELSSOHN HALL 


FORTIETH STREET, EAST OF BROADWAY 


ON TUESDAY AND WEDNESDAY EVENINGS 
APRIL IST AND 2ND 


BEGINNING PROMPTLY AT 8,30 O’CLOCK 


ele 
fo. MAT THIESSEN 
COMLEC TION 


ON VIEW DAY AND EVENING 
AT THE AMERICAN ART GALLERIES 


FROM THURSDAY, MARCH 27TH, UNTIL THE MORNING OF 
THE Day OF SALE, INCLUSIVE 


CopyRIGHT, 1902, BY 


THE AMERICAN ART ASSOCIATION, NEW YORK. 


{Ad Rights Reserved.| 


CONDITIONS OF SALE 


1, The highest Bidder to be the Buyer, and if any dispute 
arise between two or more Bidders, the Lot so in dispute 
shall be immediately put up again and re-sold. 


2. The Auctioneer reserves the right to reject any bid 
which is merely a nominal or fractional advance, and there- 
fore, in his judgment, likely to affect the Sale injuriously. 


3. The Purchasers to give their names and addresses, and 
to pay down a cash deposit, or the whole of the Purchase- 
money, if reguired, in default of which the Lot or Lots so 
purchased to be immediately put up again and re-sold. 


4. The Lots to be taken away at the Buyer’s Expense and 
Risk upon the conclusion of the Sale, and the remainder of 
the Purchase-money to be absolutely paid, or otherwise 
settled for to the satisfaction of the Auctioneer, on or before 
delivery; in default of which the undersigned will not hold 
themselves responsible if the Lots be lost, stolen, damaged, 
or destroyed, but they will be left at the sole risk of the 
Purchaser. 


5. While the undersigned will not hold themselves re- 
sponsible for the correctness of the description, genuineness, 
or authenticity of, or any fault or defect in, any Lot; and 
make no Warranty whatever, they will, upon receiving 
previous to date of Sale trustworthy expert opinion in 
writing that any Painting or other Work of Artis not what 
tt is represented to be, use every effort on their part to fur- 
nish proof to the contrary, failing in which, the object or 
objects in question will be sold subject to the declaration of 
the aforesaid expert, he being liable to the Owner or Owners 
thereof, for damage or injury occasioned thereby. 


6. To prevent inaccuracy in delivery, and inconvenience 
in the settlement of the Purchases, no Lot can, on any account, 
be removed during the Sale. 


7. Upon failure to comply with the above conditions, the 
money deposited in part payment shall be forfeited; all Lots 
uncleared within one day from conclusion of Sale shall be 
re-sold by public or private sale, without further notice, and 
the deficiency (if any) attending such re-sale shall be made 
good by the defaulter at this Sale, together with all charges 
attending the same. This Condition is without préjudice to 
the right of the Auctioneer to enforce the contract made at 
this Sale, without such re-sale, if he thinks fit. 


THE AMERICAN ART ASSOCIATION, 


MANAGERS. 
THOMAS E. KIRBY, 


Auctioneer. 


PLOCUR _ 


_ N 


Ad 


FIRST EVENING’S SALE 


TUESDAY, APRIL FIRST 


AT MENDELSSOHN HALL 


FORTIETH STREET, EAST OF BROADWAY 


BEGINNING PROMPTLY AT 8.30 O'CLOCK 


WILLIAM ADOLPHE BOUGUEREAU 


a el , 
Pies 7 7 eo 


Pencil Drawi 


Two little bare-limbed children are asleep upon a bed, the one 
whose back is towards us having its right arm laid over the breast 
of the other one. 


Signed at the left, Wm. Bouguereau. 
Height, 5% inches; length, 814 inches. 


fo 


Cot! 


H. COLEMAN 


2—Landscape oe ‘ 7 ‘i : 


A wagon with high frame sides, drawn by four black oxen, is 
approaching along a road between grassy banks. The bank on the 
left gradually slopes up with bushy trees at the top, that are continued 


back and across the picture. 


Signed at the right, C. C. Coleman, Maccarice /81. 
Height, 7 inches; length, 12 inches. 


C. RAUCH 


ee Letter Writer 


YE Hl * Water Color 


The letter writer, sitting in a handsome carved chair with leather 


back, poises his quill pen in the air as he looks across the table to 
his client, a Neapolitan peasant-girl. Near her sits another woman, 


behind whose chair stands a boy. 


Signed at the right, C. Rauch. 
Height, 9% inches; length, 1014 inches. 


H. COLEMAN 


4—The Sheep Fold _ Vis G fe 


Water Color 


i 


A shepherd is folding his sheep in an enclosure formed by poles and 
netting. In the background appears a yellow thatched shed and — 
beyond it one with a conical brown roof, surmounted by a cross. A 
red coat and a stick lie on the ground near the man’s feet and close 


by him his dog. 


Signed at the right, C.C. Coleman, Roma. 


Height, 9% inches; length, 13 inches. 


CLARKSON DYE 


5—Street Scene: Winter 


Gu doves Water Coior 
| long the snow-covered sidewalk on the left hand of the street a 


lady is coming towards us, passing in front of a row of dull red houses, 
while in the distance a cab is moving towards a building with a tower 
that concludes the vista. Bare trees stand along the right of the 
road, behind which is a range of red warehouses. 


As 
% 


Signed at the right, Clarkson Dye /93. 


Height, 10 inches; length, 13 inches. 


ALEXANDRE DECAMPS> 


ie Ww fee : ; 
- 6—A Mountain Gorge a hte 
| Pastel /\ 2 


The scene is a wild mountain region cloven into gorges, walled 
with bare rock. <A sort of natural causeway, covered with grass, 
stretches diagonally towards the centre, and at the end of it a Greek 
soldier with helmet, round shield and spear, stands upon the brink of an 
incline, down which other soldiers are disappearing. 


Signed at the right, D. C. /46. 
Height, 10 inches; length, 16 inches. 


L. WOODWARD 


/7—Arch Creek, Florida 


Oe Water Color 


The winding reach of water disappears on the right of the back- 
ground. It is bordered with pale green foliage, interspersed with 
trees from which hangs bearded moss, while others on the right of the 
picture dip their branches into the water. A single white bird appears 
in the sunlit distance. 


Signed at the left, L. Woodward. 
Height, 12 inches; length, 17 inches. 


MARCUCCI 
4p A 


» 8—An Italian Peasant Girl £ Ja eae : 


Water Go 


Near a bunch of thistles and some reedy grass entwined with strag- 
gling grapevine stands a peasant girl, looking away from us and hold- | 
ing a sheaf of corn-stalks in her arms. Her costume consists of a gray 


chemise, dark blue corset, and dull rose skirt tucked up over a blue 
petticoat. } 


Signed at the right, Marcucci, Roma. 


Height, 14 riche width, 71%4 inches. 


AFTER BESNARD 


9o—Nude 


Pastel 


This is the study of a nude woman sitting in crouching attitude 
upon a white drapery, with her head bent over a purple and gray cup. 
The figure is lighted fom the left by a warm glow, which touches the 

- prominences of the flesh with rose. 


MARCUCCI 


1o—lItalian Shepherd Boy Pa 
Water ee 


An Italian shepherd boy in green breeches, with a golden brown © 
jacket slung over his shoulder, leans upon a fence with his back to us, 
looking towards a horizon, rose and saffron in the twilight glow. 


Signed at the right, Marcucci, Roma. 
Height, 14 inches; width, 7% inches. 


na 
} 
ii 


GIUSEPPE SIGNORINI 


7 
; i 

} 

fe al 
es : fi 
. } i 


11—The Convivial Cardinals 


< Water Color 
5 am 


! Two cardinals are sitting on opposite sides of a pedestal table with 
carved and gilded support, covered with a pale blue satin cloth. One 
of them leans back, looking out of the corner of his eye at a wine- 
glass which he holds up, while the other leans forward with a bottle 
in his hand. Behind them a supercilious flunkey is walking away 


with a tray. 


Signed at the right, Giusep Signorini, Paris /81 
Height, 18 inches; width, 14 inches, 


ee 


/ 
4) L. WOODWARD 
# 


12—Ocklawaha Landing, Florida 


i 7 de Vee. ( owek 


Enclosed with trees and strewn with beds of liliés, spreads an 
expanse of water, out of which rise high trees with a little foliage at 
the top, bearded moss hanging from their limbs. On the right of 
the middle distance stands a little house on wooden piers, beside which 
a boat is moored. 


Signed at the left, L. Woodward. 
Height, 10% inches; length, 16% inches. 


/ 


f | UNKNOWN 3h j 


13—Marine Poe: 
: There is a dull gray cloud over the horizon. Two brigantines 
are riding on the green sea which flows to the front of the picture in 


4 


small, smooth, sliding waves, breaking into foam as they reach the 
stone-strewn, sandy shore. Above the latter rises a wall of purplish 


brown rocks with dark green brush on the summit. 


Height, i6 inches; length, 22 inches. 


; HENRY KINNARD 


Crossed by a plank bridge in the middle distance, a brook flows 
towards the foreground, where it is bordered by bulrushes, flowers, 
and large dock-leaves. In the field are wheat shocks and standing 
wheat, among which are figures, and in the distance appears a red- 
roofed farmhouse among some trees. 


Signed at the right, Henry Kinnard. 
Height, 20 inches; width, 15 inches. 


14—Summer Pe G re 
Water Col = a . 


SALOMON CORRODI 


— 15—Avenue in Tivoli 


| Fg A ater Color 
| a 


The avenue stretches straight back, bordered on both sides by 
giant sycamores. Those on the left grow upon a small bank from 
which their roots project, and behind the trees runs a white wall, 
dappled with light and shade. At intervals along the avenue are 
stone benches on which figures are sitting, while in the distance an ox- 
wagon approaches. To the right appear an orchard and distant land- 


scape. 


Signed at the left, S. Corrodi, Roma. 
Height, 20 inches; length, 28 inches. 


O JEAN JACQUES HENNER 


16—Head of a Girl a 
Wik . 7 ene 


A girl’s head is seen in profile against an olive brown background. 
Her brown hair grows in profusion over the forehead, the brown eyes 
are looking upwards, and ripe red lips stain the pure white of the 
features. Her shoulders and bosom show above a geranium-colored 
drapery. 


Signed at the upper right, Henner. 
Height, 18 inches; width, 15 inches. 


Henner takes his place in the latter half of the nineteenth century 
as, perhaps, the most poetic painter of the nude and one of the most 
individual and fascinating delineators of girlish beauty. 


SALOMON CORRODI 


L 


fy fivoli 


ae Z 2 Color 


On the left are the towers and clustered houses of the city, perched 
upon a rocky eminence, from the green walls of which issue jets of 
water, that fall from terrace to terrace into the river winding through 
the gorge below. Raised upon the right is a road, along which a horse- 
man under the shadow of the rocks is passing towards a spot of sun- 
shine where a goatherd and his flock are standing. 


Signed at the right, Sal. Corrodi, Tivoli, 1880. 
Height, 20% inches; length, 2814 inches. 


Standing in a large meadow, dotted with cows, is a white cottage 
with a red chimney and a dormer window in its high drab-green 
thatched roof. To its left rises a clump of trees, sheltering another 
cottage, near which stands a woman in blue gown with white cap and 
apron. In the foreground of rich grass is a pool with sedge and scrub 
upon its bank. A dark gray cloud fills the sky on the right side, 
loosening into white masses towards the centre, above which is an 


expanse of greenish blue. On the horizon is a deep blue hill. 


Signed at the left, Victor Dupré. 
Height, 17% inches; length, 28% inches. 


Had Victor Dupré not been the younger brother of the more 
famous Jules, the recognition of his own powers would have been more 
pronounced. Yet he was a fine technician, with a noble use of color, 
who infused into his work a quality of very sincere poetry. 


ROSA BONHEUR “ 


19—Don Quixote Escorted Home 


Drawing in Crayons 


of La Mancha, after his severe drubbing by the mer- 
chant’s boy, s being assisted home by a countryman. His long body 
is seated astride a donkey, drooping over the sacks on the latter’s 
neck, while his left hand rests on the shoulder of the countryman, 
who is leading Rozinante and carrying the spear. The donkey’s head- 
gear, decorated with rose-colored wool, terminates in a conical crest 


surmounted by a blue tuft. 


Signed at the left, Rosa Bonheur, 1888. 
Height, 39% inches; width, 37 inches. 


A jolly Carthusian brother in white habit and black cloak smiles at 
a Spanish lady, who sits beside him coquettishly holding a fan between 
her face and his. A white mantilla is suspended from the tortoise-shell 
comb in her hair. Against the leafy background hangs a little bird- 
cage. 


Signed at the right, Antonio Casanova y Estorach, Paris, 1882. 


Height, 15% inches; width, 12% inches. 


Casanova is widely known for his pleasant satires on the priest- 
hood, full of genial humor. 


, 20—An Uncanonical Courtship He é 


ee ee 


STANISLAS LEPINE 


21—L’Estacada | it 


Le 4 


Beyond the front water; where a big barge with derrick is moored, 


runs a framework of timbers, following the line of a stone bridge 
approach, that connects with a flat-arched metal span. Under this 
the water flows into an inner harbor, surrounded on three sides with 
houses, above the centre ones appearing a high dome with cupola. On 


each side of the harbor, trees are growing in front of the houses. 


Signed at the left, S. Lépine. 
Height, 12% inches; length, 18 inches. _ 


Lépine, well known for his river and harbor scenes, is one of the 
most distinguished of the modern French landscape painters. The 
subject of this particular picture was a favorite one with him and he 
has painted it several times. if 


In: PIO JORIS 


22—A Meeting on the Tivoli Road 


A bare-legged man in blue CA on a ledge of stone beneath 
a high rock hung with greenery, holding out his right hand to a woman 
who stands beside him. She is clad in a brown skirt and pink bodice, 
and on the ground near her is a basket of linen. 


Signed at the right, P. Joris, Roma. 
Height, 15 inches; width, 9 inches. ; 


Joris gained the Gold Medal at the recent Exposition in Paris. 


ALEXANDRE CABANEL 


23—Study of Female Figure 


This is a study eZ in upright pose with her 


head thrown back and the auburn hair falling in a stream behind. Her 
left arm is held across her eyes and the right hangs down limply with 
the fingers curled towards the palm. 


Signed at the left, Alex. Cabanel. Dedicated—‘‘a mon cher ami, Alfred Arago,” 


-who was Senator and Minister of Fine Arts. 


Height, 17 inches ; width, Io inches, 


Son” ines 


7 ees A GABRIEL MAX 


/ ta? 


A fair-haired girl, with soft gray eyes that have brown pupils, stands 


Po A Fair Maiden 


facing to the right, inclining her head slightly towards her shoulder. 
Her hand is laid over her bosom, that is lightly covered with gray 
gauze, below which appears a glimpse of crimson cloak with a gold 
clasp. 


Signed at the left, G. Max. 
Height, 18% inches; width, 15 inches. 


Gabriel Max gives to his soft and lovely girlish heads a remarkably 
tender sentiment and a kind of mystical spirituality. 


Se i i” inl 


FRANZ DEFREGGER 


VERDES 


25—A Tyrolese Wooing | Ay 


g by a hearth pauses in her knitting to answer 
with a smile the laughing advances of her admirer. He has a pipe in 
his hand and sits near a square cupboard in the wall. 


Signed at the left, F. Defregger, 1888. 
Height, 15 inches; width, 11 inches. 


From 1869 Defregger’s art was almost entirely devoted to the Tyrolese people. 
To paint the smart lads and neat lasses of Tyrol in joy and sorrow, love and hate, at 
work and merry-making, at home or outside on the mountain pastures, in all their 
beauty, strength, and soundness, was the life-long taste for which he more than any 
other man had been created—for he belonged to them himself.--MUTHER. 


0 J. EHRENTRAUT 


_ 26—A Halberdier Saluting 


Ste 

In a corridor, hung with a blue curtain and lined above the brown 
wainscot with old-gold leather, patterned in red, stands a halberdier 
with hand raised to the curled brim of his black hat. His uniform 
consists of crimson breeches and a mustard-colored jerkin with white 


ruff, a blue sash being fastened on the left shoulder and passing across 
his chest. 


Signed at the left, J. Ehrentraut. 
Height, 14 inches; width, 9% inches. 


LEON BONNAT 


27-—Italian_Girl 


A little Italian peasdnt-girl stands with her left hand on a stone and 
the other one held’fo her lips as she looks straight at us. Behind her 
is a mass of dark foliage with a glint of light blue sky at the top on 
the right. 


Signed at the left, L. Bonnat. 
Height, 1314 inches; width, 8% inches. 


Bonnat, during his residence in Italy from 1858 to 1860, painted a 
variety of subjects from the life of the Roman people. He has proved 
himself one of the most masculine painters of the century, possessed 
of learning which never loses itself in unnecessary detail. 


» 


~~ C. TAMBURINI 


a | 


it 0 e. 
” 28—Monk Chanting 


The light streams down upon a Carthusian monk, in white habit 
and black cloak, as he stands before a heavy wooden lectern, on which 
rests a large book with clasps. With is left hand marking the rhythm, 


he chants the office. 


Signed at the upper right, C. Tamburini. 
Height, 12 inches; width, Io inches. 


ERNST ZIMMERMANN 


29—The Alchemist uy 


G) a- 7E . a 


i An old man with glasses on the end of his strong nose sits before 


1 
i 
i 


ie 
i 


an illuminated tome, turning the leaves with his white, delicate fingers, 
Upon the table lie a large volume bound in buff calf with red edges, 
| two other books, one of which has metal clasps, and a globe. Beside 
ee the green curtain at the back is a book shelf and a dried fish hangs 
from the ceiling. 


Signed at the upper left, E. Zimmermann, Miinchen, 1880. 


Height, 15 inches; width, 12 inches, 


ALPHONSE DE NEUVILLE 


A chasseur in dark blue uniform and white gaiters, with knapsack 
| on his back, leans upon his rifle. At a little distance behind him the 


company stands at ease, and the officer on a gray horse is talking to 
another who stands before him. 


Signed at the right, A. de Neuville, 1884, and dedicated “ A mon fidéle chasseur 
Ardelain.” NN ee, eee 
ad Height, 19% inches; width, 15 inches. 


De Neuville had looked on war as an officer during the siege of 
Paris, and his pictures show an intimate sympathy with the soldier on 
active service. 


BARON THURE VON CEDERSTROM 


-31—Examining the Treasures 


A priest black cassock and red skull-cap sits before a table 
covered with various objects, among which is a document with a red 
seal. He is examining a pyx, which he poises delicately in his hands, 
while beside him stands a brother of the order in white habit and black 
cap, who holds a shrine-like cabinet with blue enamelled sides and 


edges rimmed with brass. | 


Signed at the left, Th. Cederstrém, Miinchen. 


Height, 21 inches; width, 15 inches. 


7 {g 
ee TD 2 ee y, / d : 

2 \ } Tbe  f/ FF" & 

y a : i 
en eee th 
| : “ ft | } 
‘ i & et ft é a 
! 
| 
} 


HELEN LE ROY D’ETIOLLES 


32—Head of an Old Man 


i A large, dark hat frames the face, which has ruddy, boldly modelled 
features with a reddish mustache and beard, the eyes being wrinkled 
and the cheeks drawn back in a pleasant smile. A white collar falls 
over the brown jacket. 


Signed at the right, H. Le Roy d’Etiolles. 


Height, 21 inches; width, 17 inches. 


ADOLPHE ALEXANDRE LESREL 


33—Returning Huntsman 


As he enters from the snowy street, a man, with spear in hand and 
a game bag slung over his left hip, is welcomed by a cavalier, who sits 
beside a large, carved oak chest. The latter wears a yellow tunic with 
purple sleeves and a sash of a lighter tone of the same color and holds 
a gray felt hat. A trumpet lies upon the floor and on the wall hang a 
mandolin and breastplate. 


Signed at the left, A. A. Lesrel. 
Height, 2114 inches; width, 18 inches, 


; 


EDOUARD DETAILLE 


4, —Officer Ordering an Advance 


Ze. 5 


An officer on a bay horse holds his sword stretched out at arm’s 
length as he directs the advance of a company of troopers, who in a 
line behind him are breaking into a gallop. Between them is a brook 
with rushes and reeds, and the officer’s horse is just about to step on 
to a road in the right of the picture. 


Signed at the left, Edouard Detaille, 1886, 
Height, 22 inches; width, 16 inches. 


Detaille, who was Meissonier’s favorite pupil, is an accomplished 
draughtsman with an extraordinary skill in rendering action of the 
most varied kind. The campaign of 1870 gave him an experience of 
war, and he depicts the soldier upon the field with a sincerity of knowl- 
edge and dexterity of touch that render him the foremost military 
painter of the day. 


Cost? G 


rs ig 


ee eae 


oop eat 


- . i ; e ‘4 og ej 
7 J / 7 - ¥ iZf Z F . ‘ gS £ Z ; PY P ; 
/ y - 2 iF 2 £ id ‘2 aA Ee J 4 2. £39 ay x 
f 7 a * 3 pe > ; ts fs ” , soi 
/ { : K £ ’ , £ Ps ti i =. is wy & ‘ #? t rr oe 
’ , * 7 7 7 


DOUGLAS VOLK, N.A. 


za : 
F 9c-—The Mod ' 
35 € ode ee 


The young girl’s head-with yellow-brown hair and ripe flesh tones 
is in profile, whit€her bosom fronts us, veiled by a red gauze drapery. 


igned at the right, Douglas Volk. 
Height, 20 inches; width, 16 inches. 


Douglas Volk’s studies of young girls, often in Puritan costume 
and placed among pine trees, are distinguished by a very delicate ten- 
derness of sentiment, sweet and pensive. 


FELIX SCHLESSINGER 


} 36—The New Scholar 


The scene is an old-fashioned dame-school, and the teacher has 


come down from her desk in the corner of the room to welcome a little 
child who stands in front of her mother. Peeping round from behind 
the latter is a boy with his books over his shoulder held by a strap. 
The children scattered over the benches take advantage of the inter- 
ruption to their studies, and one boy is touching the strings of a guitar 
that hangs on the wall. | 


Signed at the right,.F. Schlesinger. 
F ry. } x Height, 16 inches; length, 27 inches. 


AURELIO TIRATELLI 


37—Washerwomen: Rome 


BO ikon 


The grassy drying-ground stretches back with a vista of fluttering 
lines of linen bordered by small trees, beneath which clothes are spread 
upon the ground and figures of women appear. Approaching in the 
foreground are two handsome girls, one supporting a basket on her 


hip, the other carrying hers on her head, and to the right of them 
walks a woman with a baby. 


d at the left, Tiratelli7 Roma, 1880. 
ya 


ee 


Height, 15 inches; length, 29 inches. 


Ili is one of the notable figures in the modern revival of 
fan art, a painter of strong individuality. 


y JAN H. B. KOEKKOEK 


'  38—-Coast and Marine 

A flat shore, scattered with pools and bowlders, runs back to a high, 
sloping rock in the distance, crowned with a building. Nearer to the 
foreground a two-masted brig has been beached, and a cart with two 
horses is drawn alongside of it. Still nearer to the front some fisher- 
men are pushing a boat into the water and a man with nets stands 
beside a stooping figure. Out on the greenish-yellow sea appear two 
sailboats and a brig at anchor. A line of slaty coast stretches across 


the horizon and a large white cloud hangs amid smaller ones in the 
greenish-blue sky. 


Signed at the right, Jan H. B. Koekkoek, 1889. 
Height, 1634 inches; length, 25% inches. 


MLLE. L. RAMSAY-LAMONT 


go woman ro n) 


Two shocks stand on the left of the picture and a woman in blue 
bodice and apron is dragging a rake after her as she moves towards the 
right. Here the field is bounded by a farm road, which curves towards 
the centre of the picture, disappearing amid a patch of yellow wheat. 
In the background is a grove of trees, and more distantly a stack. 


Signed at the left, L. Ramsay-Lamont. i 


Height, 18 inches; length, 21% inches. 


Mile. Ramsay-Lamont was a pupil of Boulanger, Paul Dubois, and 
Jules Lefebvre. 


| .%’,» JEHAN GEORGES VIBERT 


r 7 40— Absent Minded 


( ) £ teen 


An ecclesiastic in red cassock sits fishing upon a little wooden plat- 
| form that juts into the pond and is spread over with a rug. He is so 
| engrossed in landing a catch that he fails to notice that the net at the 

other end of his rod has upset the creel of fish which he has caught 
already. Beyond the water with its lilies and weeds is a wooded lawn, 
on which stands a sculptured group representing a Greek warrior slay- 


‘ . 
s cal — , ae - 2 bias fr, 


ing a prostrate foe. 


Signed at the right, J. G. Vibert. 3 
Height, 17% inches; length, 21 inches. 


Vibert’s popularity was early established upon his satirical subjects 
of monks and ecclesiastics. The satire never passes beyond the limits 
of good nature, and the execution is always skilful and vivacious. 


THE: SLERN COLLECTION. ; I15 


No. 134 


oa f JULES JOSEPH LEFEBVRE Ce 
a yn 


ee yo PARIS 
: «A hee. | 2 aa 2 
; eye x 2a 6 a 


Two village girls display to the passing Roman eye their little 


Synge — ae ey rant a ath : 
7 EAE IIE I RD 
. ee Oo ~ A ie 


= i Se 


Ae 


stock of vegetables brought from a suburban market-garden. They 
have arranged the various objects of their stock upon the ground, 
where, with true Italian indifference to serious duty, they leave them 
to invite patronage as best they may, while they while away the 
ras time after their own fashion. The attractions of these comestibles 
are slight enough, but the neighborhood in which they are displayed 

is one not likely to be exacting as to the quality of its food. One of 

| the young traders leans, knitting, against the gray and ancient wall, 
presenting a charming figure in her white head-dress and her pictu- 

resque peasant dress. The other sits upon the lower step of a stone 

staircase which makes a public passage up a steep-ascent from street 

to street. Sheltered from the blazing sunlight of the open highway, 

and cooled by the breeze of the dark and humid passage, they speed 

the hours with gossip, giving little thought or care to the customers 

who never come, or to the long and weary homeward journey yet 

before them, over hot and dusty roads, after a day of much waiting 


and little gain. 


116 _ THE STERN COLLECTION. Aa 


\ 


& 
be Law 
i A \\ HECTOR LEROUX 


Oy 
Fg PARIS 


No. 135 


<3 Sappho 9? 
29 X 334 


Surrounded by her circle of admiring and adoring vestals in her 
temple at Mitylene, the great lyric poetess recites to them one of | 
the matchless odes of her own composition, of which only too 
few fragments remain to us at the present time. She stands upon a 
rostrum, inscribed to herself, in the centre of the picture, her fig- 
ure dominating the composition. She is erect, with her right hand 
upraised and her left resting on her golden lyre, which is sustained 
upon her chair. Her neophytes form an entranced audience, some 


seated, some standing, but one and all attending upon her every word 


~ and gesture with intense and breathless interest. The various types 


of classical maidenhood are skilfully realized, and the presentation 
of the subject has the vividness of fact tempered by a vein of deli- 
cate poetic sentiment. . The figure of Sappho is conceived in the 
extremest refinement of. the spirituelle and intellectual woman. It 
is a frail body sustained by a strong soul. Her face has the exalta- 
tion of inspiration, and in the lines of her figure, rigid with the in- 
tensity of emotion that animates her declamation, the sentiment of 


the classical era of art is revived. 


AUGUSTE TOULMOUCHE 


41—The Miniature 


me 2. 


A lady, in long, trailing satin dress with red brocade sleeves and 
cord ornament upon the shoulders, stands before a table, on the blue 
cloth of which lies an open jewel case with strings of pearls hanging 
out of it. She is pressing to her lips a locket containing a miniature. 
Behind her is a screen of tapestry, framed in gold. 


Signed at the right, A. Toulmouche, 1880. 
Height, 26 inches; width, 17% inches. 


a aut ¢ yy, . } 
x 2 za : _ 2 . ye P “ 
ee 4 J I 2? >" > ~~ me ¥. AED AG ti 
ae IDOLE 


a) hie 
i 44) 
dius | 


Wau aie 
Pt ap 
ag O 2 


‘! : 


\ nO 
i 2 


j & J ; 
f"3 f A fe 
A Holland Landscape ~ 4. ¢ Li Ane 


Along a sandy road between almost bare trees, bordered on each 
side by bright grass meadow, a cart is approaching, drawn by two 
pale yellow oxen in charge of a man in blue; overhead is a gray sky 
full of breeze and moisture. 


Signed at the right, A. Mauve. 
Height, 23 inches; length, 27 inches. 


A master of tender harmonies, Mauve interprets nature in a minor 
key. He gathers poetic suggestion from the gray days; a poetry re- 
served and melancholy, yet fresh and pure with the vigor of breezy 
sky and moist, wholesome earth. 


ST. CHLEBOWSKI 
dh 


ks a Andrinople 


ae 


-- 43—La Marmite: 


A party of soldiers is grouped around the grated entrance of an 
arched doorway, which is set back in a recess of the wall surrounded by 
an irregularly shaped frame of masonry. Three of them are sitting 
on the threshold, and beside a pot suspended from three sticks stand 
two others, one holding a lamb and the other a goose. . 


Signed at the left, St. Chlebowski. 
Height, 26 inches; width, 20 inches. 


; 


The carved woodwork of an Oriental window frames the lady, 
whose ample charms above her rose-colored petticoat are revealed 


beneath a tight-fitting bodice of black gauze, with a small yellow jacket 


across her shoulders. <A green, transparent veil covers her head. 


Signed at the left, J. L. Géréme. 
Height, 22 inches; width, 18 inches. 


Gérome is a learned draughtsman, rendering the form with dis- 
passionate, calculating, impeccable accuracy. The play of light upon 
human flesh, the palpitation of the living tissue, eludes his observation, 


so that this device of veiling the figure, piquant in itself, is a screen to — 


his limitations. 


PAUL LAZERGES 


45—The Gleaners See 


On the edge ao some tall grass sprinkled with white and yellow 
- flowers a girl stands with a sheaf of grass at her feet. A light red ker- 
chief is bound around her bronzed face; she wears a white, woolly 
smock girded with a blue sash, and a short white cloak hangs down her 
back, fastened at the corners on her shoulders. Farther back in the 
landscape another girl stands amid the grass, and coming down a slope 
on the right is a distant figure with a bundle on her head. 


Signed at the right, Paul Lazerges, 1888. 
Height, 25 inches; width, 19 inches. 


a F ae . 
ee ge aa 


aw RAIMUNDO DE 


Pel 


46—A Love Song 5 


& 


ar 


In a garden, seated below the high pedestal of a statue, a lady 
listening to the song of a lover, who rests his foot on the rung of a 
chair to support his guitar, as he stands gazing into her face. A dove- 


colored satin cloak lined with primrose is slung over his left shoulder: 


and his companion’s costume consists of a pink Pompadour robe, fast- 
ened low upon the breast and falling in voluminous folds on each side 
of a pearly-gray skirt. 


Signed at the right, R. Madrazo. 
Height, 2934 inches; width, 25 inches. 


Madrazo remains of the brilliant group of Spanish-French painters 


which included Fortuny and Zamacois. His skill is revealed particu- 
larly in his exquisite rendering of delicately sumptuous fabrics. 


C. RINALDI 


47—A Good Story 


G Jpebre— 


A plump brother of the Carthusian order, with a black skull-cap 
over his silvery white hair, leans back his head and shows his teeth 
in a broad smile as he presses to his chest the book which has apparently 
suggested the merriment. 


Signed at the upper right, C. Rinaldi, Firenze. 
Height, 28 inches; width, 21 % inches. 


In a leafy spot a gypsy woman sits with hér baby at her breast. 
Her bare feet show below a dull green dress and a red drapery lies 
. 

across her lap. 


Signed at the left, L. Knaus, 1886. 
Height, 30 inches; width, 23 inches. 


“Knaus has the ability,” wrote Edmond About in 1855, “ of satis- 
fying everyone. The most incompetent eyes are attracted by his pic- 
tures, because they tell pleasant anecdotes; but they likewise fascinate 
the most jaded by perfect execution of detail.” 


JOSEPH BAIL | 17 . 0. 


49—Drawing Water 


| 
aa i 
: t 
St 


A cool light from the left pervades the interior, gleaming on objects 
of polished brass and softly illumining the fresh and dainty costumes of 
two women. The younger, in a creamy-white gown, stands with her 
hand upon a brass tap in the wall, from which she is filling her brass 
water bucket, gazing meanwhile at the other woman, who sits with 
her back towards us, the ends of her lawn cape falling over the back 
of the chair. Another brass bucket is held in the girl’s left hand, and 
above the tap hang a brass strainer and ladle. 


Signed at the left, Bail, Joseph. ; 
Height, 28 inches; width, 23 inches. 


Joseph Bail has unusual skill in the delineation of textures and in 
the rendering of softly lighted atmosphere, and secures a tone in his 
pictures that is at once piquant and refined. 


ae MAGNUS V. BAGGE 


“ 50—The Engadine 


7? 1- (ae 


\ From an elevation we look down upon the Alpine valley with its 
stretches of velvet grass and pleasant animation of white houses and 
little church. On its left the pine forest slopes down to it, while on > 
the farther side it is separated by a gorge from the neighboring moun- 
tains. Pine forests again clothe the base of these, and their remoter 
peaks are covered with snow. | 


Signed at the right, Mg. V. Bagge, 1874. 
Height, 24 inches; length, 37 inches. 


AURELIO TIRATELLI 


51—Fighting Bulls | ta) 


On a wild bit of plain with rocks and thistles, near a pool of water, 
a black and a drab bull are engaged in furious combat. Overhead is a 
dull gray sky streaked on the left with a distant downpour of rain. 


Signed at the right, A. Tiratelli, Roma, 18809. 


Height, 27 inches; length, 33 inches. 


Tiratelli is fond of painting the buffaloes upon the Campagna, one 
of his examples of this subject being in the Civic Museum at Trieste. 


re a s, Jo 


The outer wall and towers of a castle crown a ‘small hill that rises 
on the far side of a sheet of water. To the left of the latter a ferry- 
boat lies end on to the bank and a woman sits in it, whose basket a 
man, standing on the ground with his hand against a tree, is lifting out 
for her. Near him a path winds through the tangle of rich grass 
between birch trees. Another building appears on the slope below 
the castle, and there are hills beyond with a warm, vapory horizon. 
Wreaths of gray clouds float in the pale blue sky. 


Signed at the left, Corét. 
Height, 29 inches; length, 42 inches. 


53—Landscape: Né€ar Franchard 


_A pond, with birch and willows on the left and its gray water cut 
up by strips of rushy ground, fills the left of the foreground, the re- 
mainder being occupied by rough, grassy ground. Here, from under- 
neath a group of oak trees, two cows, a red one and a white one, are 
approaching to drink. Farther back is a stretch of gray, hummocky 
meadow, bounded by an irregular line of willow trees, which are out- 
lined against a warm horizon, passing above to faint blue. 


Signed at the left, Gilbert Munger. 
Height, 28% inches; length, 36 inches. 


ROSA BONHEUR 


) 54—-A Normandy cae (ile j 
: 00 te | 


A white cart-horse of the a breed, with a halter on his 
clever little head, stands sideways before a gray wall, facing to the right. 


f A tuft of straw decorates his tail and mane and over his back hangs 
i a folded drab cloth with barred lines of blue and a brown border. 


Signed at the right, Rosa Bonheur, 1800. 
* “Prcighe. 28 inches; length, 37 inches. 


Rosa Bonheur’s pictures reveal “great anatomical knowledge, 
dexterous technique, and charmingly seductive coloring.” 


ADRIEN LOUIS DEMONT 


55—-Sunset on the Ze a 


Along the sand-dunes, growing drab in the gathering shadows, two 
figures are hurrying. Beyond them two boats are drawn up on the 
edge of the water, and farther to the right are two more in the shallow 
surf. The sea is greenish blue in the hollows, tinged with rose on its 
surface, and flashing with drips of deeper rose as it reflects the crimson 
glow of the sun, which sinks through vapor into a bed of dull dove- 

color. Higher up are diagonal strata of rose and creamy clouds, 
mounting to cooler blue and white at the zenith. 


Signed at the left, Adrien Demont. 
Height, 28 inches; length, 4414 inches. 


Since he gained a third class medal in 1879 Demont has received 
many honors, terminating in a gold medal at the recent Exposition 


in Paris. 


56—Marmiton avec Son Rig 


sits before a chopping block, on which rests a brass pan on a trivet. 


JOSEPH BAIL 


4. I Wrauslies 


A boy in white apron and scarlet jersey, black-patched on the elbow, 


He is brandishing his white cap at a drab-colored mastiff, as if to keep 
it at a distance. Behind the boy on a wooden cupboard crouches a | 
cat with glaring green eyes. Among the articles on the floor are 
a polished brass lid, two ladles, and a bottle. 


Signed at the left, Bail, Joseph. 
Height, 2814 inches; length, 39 inches. 


This clever painter of still-life and genre gained a silver medal at 
the Universal Exposition of 18809. 


JULES DUPRE 28 AXE 


te 2 


§7—Sunset 


There is menace in the sunset, dull smoky clouds and a sun sink- 
ing red in pale purple haze. Gloom enshrouds the meadow, which is 
harshly cut into by the windings of a reedy stream. Dimly visible 
in the middle distance are a shepherd and his flock; a line of hedge with 
icture and beyond it low hills lie 


& 4: oh 


on the horizon. pe f Cy, 
a he s °F  * 


trees at intervals stretches across the P 


Signed at the right, Jules Dupré. 
Height, 28% inches; length, 36 inches. 


Dupré rarely missed his evening walk and the sunset hour was the 
one most in tune with his passionate, romantic nature. He rejoiced in 
the commotion of the sky, in the wild solitude of the landscape, revel- 
ling in the contrast of glowing red and darkest shadows. Victor Hugo 
is his literary counterpart. 


58—Cow and Dog om 


Facing to wh “A in Cal i of dull foliage, stands y 


a black cow with white markings above the tail, on the chest and 
belly, and on the front fetlocks. To its right a little in advance is a 
white and tan dog. 


Signed at the right, Vente Troyon. 


pact BCT he Height, 25% inches; length, 35 inches. 


“ Troyon’s works for a long time,” writes Muther, “were held by 


amateurs to be wanting in finish. They did not acknowledge to them- 
selves that ‘finish’ in artistic creations is, after all, only a work of 
patience, rather industrial than artistic, and at bottom invented for 
the purpose of enticing half-trained connoisseurs.” No painter of 
cattle has ever seized the significance of these heavy masses of flesh, 
with their strong color and ponderous outlines, as he has done. 
“Troyon is no poet, but a master painter of strength and classic 
genius, as healthy as he is splendid in color.” 


W. KNOLL 


| P Lilarre— 


s59—River and Mountains 


In the foreground a torrent of greenish-white snow-water swirls 
around the stones. It is dyed wine color in parts by the reflection of 
the rosy warmth in the sky, which glows upon the crags and peaks of 
the surrounding ranges of mountains, some of which are lightly spread 
with snow. 


Signed at the left, W. Knoll /73. 
Height, 30 inches; length, 43 inches. 


WILLIAM BRADFORD 


60—A Polar Expediti ol 7 / 
O—— Olar xpe 17110n Sy es V4 


Underneath a cliff of icebergs, that are silvery white and blue and 


: yellowish green in the light parts and purple in the distant shadows, 
a three-masted vessel is fast in the ice. The latter extends to the front 
i of the picture, heaped in places with broken ice-rock. Towards the 
right a group of men are busy around a pile of barrels and other sup- 
plies. Two boats lie near, and another boat with four figures appears 
farther back; while near the bow of the ship some men are handling 


a long rope. 


Signed at the right, Wm. Bradford, N. Y. 
Height, 30 inches; length, 48 inches. 


Bradford was an admirable painter and his seven voyages to the 
Arctic regions resulted in a series of pictures that suggest with remark- 
able vividness the character of the Far North. 


G. RUGER DONOHO a le 


61—On the Coast of Egypt a ‘ 
ag = 47 Gi— \| 


Across the picture extends the sea, deep blue in color, with racing 
white-caps and, nearer in, a flounder of white foam and then a slide of 
shallow curdle along the sand. The sky is a delicate pale blue with 
rosy vapor. 


Signed at the right, Ruger Donoho. 
Height, 30 inches; length, 50 inches. 


3 TITO LESSI 


> #62—Interior of a Public Library at Florence 


ed with carved and 
i colored ornament, terminates in a high square-topped window. Along 


The long room with a vaulted ceiling, dec 


t the left side are books in cases behind wire screens; a gallery supported 

upon consoles running the full length, communicating with the upper 

‘ shelves. Tables covered with books are ranged along the marble 

i pavement. At the nearest table sit two gentlemen, one in dull orange 

coat with his chin resting on his hand as he reads, while the other, in 
a crimson coat ornamented with gold embroidery, leans back in his 
chair with a book. At the next table a man in black, with white bands 
at the neck, stoops over two others who are examining a volume. 


Signed at the left, Tito Lessi, Paris, 1889. 
Height, 35 inches; length, 37 inches. 


Lessi’s knowledge of drawing, learned from Ciceri, his skill in 
architectural perspective, and his brilliant treatment of textures are 
admirably illustrated in this picture. It has, too, a fine sobriety of 
rich color; and the quiet atmosphere which envelopes the figures has 
been felt and rendered in so truly artistic a manner, that the canvas is 
not only an exceptionally good example of this painter but a very fine 
picture. 


FRANZ LENBACH 


4 ee i ah 
Case wt Seat | 

Mii} 

itt 

Rant 
1 

HM 

Li 

rae 

} 

* Leee$ ae 


The white-robed figure is seen in profile as far as the waist against 


63—-Pope Leo XIII. 


a brownish-gold background. A white skull cap covers the spare, lean 
head; the nose is curved, the under lip projecting, and the brown eye 
has a piercing directness. A short cape falls over the cassock. 


Signed at the top on the right, F. Lenbach. 
Height, 33 inches; width, 25 inches. 


The greatness of Lenbach as a portrait-painter consists, primarily, 
in his power of comprehending the psychological qualities of his sub- 
ject and in the fearless veracity with which he records his observations. 
He never defers to Academic tradition or to popular fancy, he paints 
men and women as it seems to him they are. 


1G efree 
Two little loves are whispering into / ears of a young oil who sits — 

upon a bank beneath a dark bough, the creamy softness of her nude 

form showing against a rose-colored drapery and deep blue sky. Her 


feet are crossed and her left elbow is supported on her knee, the head 
resting upon the hand, while the right arm droops down to the seat. 


Signed at the left, N. Diaz 63. 
Height, 391% inches; length, 32 inches. 


During the days of his early struggles Diaz painted figure subjects, 
founding his style on a blending of Prudhon and Correggio; borrowing 
from the former the short noses and almond eyes of his faces and from 
the latter the softening of outlines with sensuous light and atmosphere. 
In later life he recurred to these figure subjects as mediums for the 
expression of light and color, and introduced figures as brilliant spots 
into his landscapes. The picture in this collection was probably one 
of those highly finished studies which he kept by him as models for 
the occasional figures. 


3} || 

{ 

: A 
/P al 
ct 
Ha 

ait 


JULES WORMS 


65—A Stolen Kiss 2 in s : 


In a narrow, tortuous street in some Spanish city a girl leans down 
her arm through the iron bars of an upper window, while her lover, 
standing on the shoulders of a man who has planted himself back to the 
wall, reaches up to kiss her hand. On the street lie two guitars, a 


hat, and a blunderbuss. 


Signed at the right, J. Worms. 
Height, 31% inches; width, 21 inches. 


— a ee 


66—A Sporting Monk . $4: ager. 4 


J. V. CARSTENS 


A monk in brown habit, with the hood drawn over his head, carry- _ 
ing a cross-bow has overtaken the quarry which he has shot. He is 
looking down at a wood grouse, that is lying in the long grass at the 
foot of a beech tree. In the distance upon a hill appears the roof of a 


monastery. 


Signed at the left, J. V. Carstens, Mtinchen. 
Height, 3144 inches; width, 23% inches. 


C. RINALDI > 


pees 


An old woman with red kerchief over her white hair clasps her 
arms round the body of a child, that has thrown itself upon her breast, 
and smiles down at a little girl who is trying to disengage the other 
child’s arm from the grandmother’s shoulder. 


67 Grandmother's Darling 


Signed at the upper right, C. Rinaldi. 
Height, 36 inches; width, 27 inches. 


ADOLF SCHREYER 


 768—Arabs Crossing a Stream Jin 
' A party of five mounted Arabs have reached a stream, and the BY 


horse of the foremost, who is conspicuous in red jacket and fez, has 


a } 


just stepped into the water. A horseman on the left, who has his back 
" towards the front of the picture, wears a white burnoose over a yellow 
| jacket and rides a gray steed with blue and gold saddle cloths and red 
| trappings suspended from the pommel. Rocky ground rises behind 
i the group and on the right is the distant view of a city. | 


Signed at the left, Ad. Schreyer. 
Height, 35 inches; length, 46% inches. 


Schreyer invested his Oriental subjects with a charming elegance 
of feeling. In them his knowledge of the horse is directed to rendering 
the graceful action and springing movement of the Arab steed, and 
he makes these animated groups contribute to a bouquet of color, 
enveloped in a tender bloom of atmosphere. 


MAGNUS V. BAGGE 


ae Norwegian Lake ad ee Zo 


On a rocky slope in the foreground a stag stands outlined against 
the sheet of water which is lighted by the misty orb of the sun, that 
hangs low in the sky surrounded by a rosy aurora, yellow on its outer 
ring. In the distance rise pink and dove-gray peaks, with ragged 
clouds like spray around their bases. 


Signed at the right, Magnus V. Bagge, 1874. 
Height, 33% inches; length, 50 inches. 


J. 2. DAVIs 


The gentleman is seen as far as the knees, sittifig nearly in profile | 

‘ in a crimson-backed chair, behind which is a drab background with an 

\ arch on the left, showing a tree and houses under a sunset sky. He — 
y 


wears an olive brown coat with roll-over collar, a white stock, and a 
cream-colored waistcoat, unbuttoned at the top, and holds in his hand 
the Declaration of Independence. 


| Signed at the left, J. P. Davis pinxit. 
Height, 45 inches; width, 34% inches. 


« 


ae : j » seat A LA $f vt 2p 4 @ 
\ Zo f 4 # Se £5 rae py ee sg i £4.% C40“ 
} f y 203 3 3 ah 


se 
ae AL PL BER A OREN EEE IEICE REP SERED Bh ORE NE PERT TE I 


Ae NESTA 
eee cen Seren came ae y 


WILLIAM H. BEARD, N.A. 


71 FE so 


A toothless old man sits on his doorstep, holding a dilapidated 
shoe, while his toes project from a hole in his sock. Beside the corner 
of the rickety shanty stands a bow-kneed horse—a bag of loose skin 
and sharp bones. 


Signed at the left, W. H. Beard /75. 
Height, 36 inches; length, 48 inches, 


William H. Beard has been characterized as a survival of the age 
of Dutch painting when satire and art went hand in hand, for his sly 
humor was accompanied by very skilful craftsmanship. 


eee 
- S és 
A Gala = 

ie 2 

gh! 

ne a 

i % : 

> 


HUGO KAUFFMANN 


72—A Village Auction 


IS 


The auctioneer stands in the shadow of a roofed recess before a long 
table, at the end of which sits the widow, holding a white jug on her 
lap, while villagers are grouped around. To her right is the auction- 
eer’s clerk, and at her feet baskets of crockery and other objects, includ-— 
ing a doll. Disposed about the yard stand pieces of furniture, which 
people are examining, and in the shadow of a sideboard an old man 
sits poring over the books which lie in and around a basket. 


Signed at the right, Hugo Kauffmann. 
Height, 38 inches; length, 5134 inches. 


HENDRIK SIEMIRADZKI 


73—The Sword Dance , ee || 


e ! \ 

| 

& ih 
iit 


On a semicircular exedra of white marble, beneath the shade of a 
vine-trellised pergola, lounge a number of Greco-Roman gentlemen of © 
the Empire watching the movements of a nude dancer, who poses 
upon a long strip of carpet bristling with sword blades set point up- 
wards. The girls are accompanying her dance upon instruments and 
her blue drapery lies upon a bench under an olive tree on the left. The 
scene is taking place on a terrace overlooking the blue sea, which 1s 
bounded in the distance by a curving coast of warm, pink rocks. 


Signed at the left, H. Siemiradzki, Roma, 1887. 
Height, 31 inches; length, 61 inches. 


Siemiradzki was one of the most talented of the Russian painters 
who, fired by the success of Bulwer Lytton’s “ The Fall of Pompeii,” 
threw themselves into representations of Greek and Roman antiquity. 


74——Cows and Landscape 


i JOHAN H. L. DE HAAS 


The pasture, sprinkled with cows, stretches beneath a cool, clear 
sky with gray tufts of cloud floating in the pale blue. In the fore- 
ground a white and dun cow is feeding on the scanty herbage, and be- 
hind her, partly hidden, stands a black one with white markings. 
Farther back on the left are a few trees and longer grass, on the edge 
of which another black cow extends towards us its white face. On 
the right of the foreground are a little pool and posts and rails, beyond 
which the meadow extends to a distant herd of cattle and some trees. 


Signed at the right, J. H. L. de Haas. 
Height, 45 inches; length, 59 inches. 


De Haas is one of the realists of modern Dutch painting whose 


¢ 


pictures, as Muther says, are “characterized by a dignity resulting 
from good traditions, a quiet mood of contemplation, occasionally 
verging on narrowness, a dark, warm, and almost sombre tone, singular 


taste and purity, and a certain repose and kindliness of feeling.” 


D. RIDGWAY KNIGHT 


76—-Washerwomen at Poissy 


go 77: 


Along the edge of the river are ranged a number of girls, engaged 
in washing linen, while at the end of the line a girl is settling a basket 
upon the back of an old woman. In midstream is the ferryboat, in 
which a man stands with a punt pole, and near the landing stage on 
the opposite side are trees, which continue along the bank of the river 
to a town in the distance. 


Signed at the left, D. R. Knight, 1875. 
~ Height, 34% inches; length, 50 inches. 


—— 


ANDREAS ACHENBACH 


ithe 
} 


* The background of pine trees shows dark against a lurid gray sky, — 
K! which clears towards the right, its white light being reflected on the 
ripples of the river that runs swiftly round the bend in its channel. A 
log is floating in the water and other fallen tree-stems strew the fore- 
ground, to the right of which is a corduroy road, on which the figure 


Le al ee ee, ee 


of.a man appears. 


Signed at the left, A. Achenbach. 
Height, 39 inches; length, 57 inches. 


Achenbach was one of the first of the German landscape painters 
to feel the influence of realism. ‘“‘ He appears,” as Muther says, “asa 
maitre-peintre, a man of cool, exact talent with a clear and sober % 
vision.” While his landscapes are lacking in inspiration, they possess : 
technical qualities of a high order; he renders with remarkable fidelity 
the outward forms of nature, though he may sometimes miss its spirit. 


ee ae ar ae 


evi, 
Pa i s 


L BZ. HERMAN CORRODI 
. in GC 


77—Ne onstantinople 


The bridge extends straight back from the front of the picture, 
with balustrade on each side and raised stone sidewalks above the 
flagged roadway. The scene is animated with figures; a donkey with 
a bundle on its back between the panniers is approaching, and on the 
right a woman holds her child upon the top of the balustrade, watch- 
ing the boats that are clustered or dotted over the water. At the 
end of the bridge are low houses with tiled roof and beyond them 
rises up the city’s pyramid of buildings, interspersed with domes and 
minarets. 


Signed at the left, H. Corrodi, Roma. 
Height, 33% inches; length, 65 inches. 


i 


CHARLES LOUIS MULLER 


Come 


g 78—Scene at the Conciergerie Prison during the 


Roll-call of the Last Victims of the Reign 
of Terror, 9th Thermidor, 1793 


In the dull-lighted prison-hall a number of prisoners are grouped, 
sitting or standing in attitudes of terror or of resignation around the 
grated entrance, where an officer in the uniform of the Directory reads 
off the roll of names of the day’s victims. In the street outside a lady 
in white looks back at her late companions as she is being hurried off 
by the guards. Prominent among the figures in the hall is a man, 
apparently an official, who holds a pencil and paper on his knee as 
he sits with his head on his hand, as if dazed with the horror of the 
scene. In contrast with his emotion is the callous indifference of a 
brutal-looking keeper who sits by the gate. 


Signed at the left, Cs. Ls. Miiller. 
Height, 50% inches; length, 93% inches. 


From the sale of the John Taylor Johnston Collection, New York, 
1876. fe nas J WW, fF & X 
From Fernand Robert, Paris, es, 


The picture includes portraits of the following: André-Marie 
Chénier, the poet; Mademoiselle de Coigny; Dr. St. Simon, Bishop 
of Agde; the Princess of Manoco; Countess of Narbonne Pelét; 
Marquis of Roquelaure; J. A. Roucher, the writer; Madame Sabine 
de Viriville; Rougeot de Montcrif; Marquis of Montalembert; Prin. 
cess of Chinay; the Recorder of the Revolutionary Tribunal; Made- 
moiselle Leroy, actress of the Comedie Francaise; Marchioness of 
Colbert de Maulévriers; M. Amanne, his wife and daughter; and A. 
Leguay, captain of the 22d Regiment of Chasseurs-a-cheval. 


ee ee ee era ee 


ET ee ee ee ee ae ee 


NR I a. 


le aks a 7 


Relating to Charles Miiller’s famous painting, ‘Scene at the Conciergerie Prison 
during the Roll-call of the Last Victims of the Reign of Terror, 9th Thermidor, 1793,” 
André-Marie Chénier, the poet, is represented as sitting in the centre of the Con- © 
ciergerie Prison among a number of other condemned, and as composing the following 


poem : 


“Comme un dernier rayon, comme un dernier zéphire i 


Anime la fin d’un beau jour, 

Au pied de l’échafaud j’essaie encore ma lyre. 
Peut-étre, est-ce bientét mon tour, 

Peut-étre, avant que l’heure, en cercle promenée, 
Ait posé sur |’émail brillant, 

Dans les soixante pas ot sa route est bornée, 
Son pied sonore et vigilant, 

Le sommeil du tombeau pressera mes paupiéres; 
Avant que de ces deux moitiés 

Ce vers, que je commence, ait atteint la derniére, 
Peut-étre en ces murs effrayés 

Le messager de mort, noir recruteur des ombres, 
Escorté d’infames soldats, 

Remplira de mon nom ces longs corridors sombres . . 


Chénier was about completing the above poem when the voice of the executioner 


echoed the name of Chénier, ; 


oo 


: 4 ALBERT BAUR 


79—Marauders in the Thirty Years’ War 


Three soldiers of the army of the Emperor, engaged in looting, 
have come upon something behind a curtain which arouses their in- 
terest and merriment. One of them has chickens trailing from his 
hand, another a bunch of onions on his halberd, while upon the floor 


lie apples, wood, and a blue and gray jug. 


Signed at the top on the left, Alb. Bauer, We /74. 
Height, 6514 inches; width, 38 inches. 


er iM. 


£ - EMILE RENOUF 


80 — Last APES My Poor oe 


An old fisherman, kneeling upon (Ze beach beside a boat, pauses 
in the work of mending it to look straight before him. He has his 


H arms upon the gunwale, with one hand holding a hammer and in the 
iN other a patch of wood, from which a long nail projects. Behind the 
boat the gray-blue sea is curling over the flat shore in long, low turn- 
overs of white foam. : 


Signed at the right, E. Renouf /79. 
Height, 56 inches; length, 81 inches. 


’ From the Mary Jane Morgan Collection. ? SS. XSKA 
f Z ? tf, 
A f ¢ & f . SL {.. (Pv Pm G 2 i ae (_ A— A, 
_" tt we” ee ie 4 


RPE IE 
ARAL RIE REELED RAE. 
oe nines alanis 


if 


= spice EL 
a. SAL 


HANS MAKART rae 


81—* A Midsummer Night’s Dream ” 


oracles, 


Amidst the luxuriant foliage of a garden, in which cypress trees 
and rock pines cast their dark silhouettes against a greenish-blue sky 
twinkling with stars, on a couch improvised upon a stone ledge from 
under which flows water into a basin surrounded by ferns and garlands 
of luscious fruit, two lovers are reposing, while two loves hover above 
them. Bottom sits up, and the girl, as she lies, leans towards him. 
Near a balustrade on the right is a group of figures, one with a lan- 
tern peering down to the ground below the terrace, while a woman, 
crouching beside a man, looks over the edge of the masonry. Close 
to her is a chattering monkey. 


Signed at the right, Hans Makart, 1868. 
Height, 74 inches; length, 112 inches, 


Not a great draughtsman, but a brilliant colorist, Hans Makart was, 
as Muther says, an inspired painter, whose merit it was to have an- 
nounced to the Germans afresh in an overwhelming style that revela- 
tion of color which had been forgotten since the Venetians and Rubens. 


SECOND AND LAST EVENING’S SALE 


WEDNESDAY, APRIL SECOND 


AT MENDELSSOHN HALL 


FORTIETH STREET,.- EAST OF BROADWAY 


BEGINNING PROMPTLY AT 8.30 O’CLOCK 


EUGENE JOSEPH VERBOECKHOVEN 


ied we 
82—Goat and Calf ot 2s @¢ 


A white goat with black head and neck is shown in profile with its 
head craned forward. Behind it and a little to the right lies a dun 
calf. 


Signed at the left, Eugéne Verboeckhoven, 18309. 
Height, 4% inches; length, 5% inches. 


Y ? 7 $ 
é Bie Ce /¢ vee / J sars$as/ 
| 2s on z z pate TaN nennesens aaa ~ = “ aa : “ 


7) CHARLES JACQUE 
Ip | 


the t- Cota 


i Among the buff and brown straw a white hen stands a little in 
front of a dark black rooster with bold neck feathers. 


83—Poultry 


i Signed at the right, Ch. Jacque. 
Height, 3 inches; length, 4% inches. 


For Jacque poultry had a special fascination. When he was poor 

he had lived with them in his lodgings, and when he became rich their 

; quarters are said to have covered more space than his own house. He 
q wrote a book about them and introduced them into pictures, with an 


i equal regard for realism and for beauty of pictorial effect. 


CARL KRONBERGER ! 
Te } 


Se flead of an Old Woman fs, \ 


An old lady sits with her head a little to the left looking up at us as, 
with her hands crossed upon her lap, she holds a little book. She wears 
a plum-colored silk dress edged with light brown fur, and a silk ker- 
chief under it fastened at the throat with a brooch, while her cap is of 
black lace and net over a wire framework. 


Signed at the upper left, C. Kronberger. 
Height, 7 inches ; width, 5 inches. 


SSeS 


saeieieiesiaee ae ————-= 


— a ee 


a 


PE a 


Ly? GIACOMO FAVRETTO 


8s—Trimming the Vines ee o fz 
VA eg: 


An Italian peasant-girl is trimming the vine which straggles over 
a sunny white wall, against which are also set some rabbit hutches. 
By her side is a large basket with a board across it on which rests 


a plate with a bunch of grapes. 


Signed at the right, G. Favretto. 
Height, 8%. inches; width, 5% inches. 


q Favretto’s soft rich painting was that of a colorist of distinction ; always taste- 
h ¢ 

' ful, exquisite in tone and light, and appetizing in technique.-—MUTHER. 

fi 


SSS Se 


JEAN LOUIS ERNEST MEISSONIER 


86—Papa Pierre Mh. oe 


An old man carrying a flat basket on his arm looks over his left 
shoulder as he walks along. He wears an open blue waistcoat and 
brown breeches, suspended by a scarlet belt. 


Signed at the right, 5M 
Height, 6% inches ; width, 4 inches. 


The genius for the infinitely small has never been carried further than by 


Meissonier.—MUTHER. 


AUGUST VON PETTENKOFEN 


8 nN Market in Hungary AA leffer™ 


A dealer in crockery has disposed his wares upon the ground 


i 

i ) ) 
i 

i i) 

i 

i 


among straw and is offering them to the peasants who are gathered 

\ round. A similar group appears a little farther back and to the right 

i of it two horses stand loose beside a wagon. Booths and houses show ; 
i beyond, and the open space is bounded by a long building with pigeons 
resting on its roof. 


i Signed at the right, Pettenkofen. 
i Height, 5 inches ; bat 9 inches. 


W. H. Stewart Collection, New York, ye fotd. fer Fi 1 RHOS. 


Pettenkofen spent his summers in the little town of Spolnok on the 
; Theiss to the east of Pesth, wandering among the whitewashed houses 
and the dealers’ booths, studying the people as they worked or rested 
for their meals. He was not concerned with character or with particu- 
lar incidents, but viewed the life in its quiet animation, satisfied to 
depict each scene in its simple general manifestation of picturesque 
action. And a special feature of his pictures is their tender, dreamy, 


lyrical quality expressed in a delicate harmony of color. 


MEYER VON BREMEN Ep er 
6 ee’ 
? A. ap pd X ~ 
88—Field Flowers / 2f 2. We CoG 


A little girl, ie 


ning her head over her right shoulder 46 look at 
us, holds an armful of flowers, her blue apron being gathered up to 
form a pocket for them. Behind her are trunks of trees and foliage 
with a glimpse of light blue sky in the top of the picture. 


Signed at the right, Meyer von Bremen, 1886, 


Height, 9% inches; width, 7 inches, 


i ow : 

" : 

i 

i st a 


lw V¥ f JEHAN GEORGES VIBERT 


'# 80—After the ae q 
| Z : 
Coe 1 

chamber with t 3 q 


At the foot of an oak staircase in a imbered ceiling 
and tapestried walls stands a table, covered with the remains of a repast. 


Near it is a man in crimson doublet and breeches and felt feathered 


i hat drawing his sword, while an old man backs up against the wall 
i trying to reach the bolt of the door and a woman in front of him grasps 
i a stick and shakes her fist at the masquerader. 

he 

‘ 


Signed at the right, J. G. Vibert. 
Height, 10% inches, length, 15 inches. 


Vibert is one of the modern “ Little Masters” influenced by Meis- 


: sonier, who has won reputation for his daintily painted costume 
' subjects. 
* 


MAX SCHODL “ 


go—Still Life 


On a table covered with a dull crimson/éloth, with a green, drab, 
red, and blue drapery bunched on the left of it, stand several objects of 
Oriental art. They include a Chinese jar with pictured decoration 
set in panels; a tall vase of citron color ornamented with foliage 
design and having a blue band round the shoulder; a little ivory 
carving and a bronze. 


Signed at the upper right, Max Schédl, 1887. 
Height, 10 inches ; width, 734 inches, 


PROSPER BERNE-BELLECOUR 


: Ol —Sentinels Se OP 
Ze Ef 


In a dreary level meadow an infantry soldier, in blue uniform and 
| white gaiters, stands sideways, resting upon his grounded rifle in which 
i the bayonet is fixed. Beyond him another sentinel faces us, also stand- 


y ing at ease. 


Signed at the left, E. Berne-Bellecour. 
Height, 10% inches ; width, 614 inches. 


Berne-Bellecour was a member of the Artists’ Brigade during the 

siege of Paris and participated in the battle of Malmaison, which he 

| afterwards represented in a large picture with minute accuracy of 

‘ detail. This accuracy, mingled with spirit and character, renders his 
studies of the soldier valuable bits of military portraiture. 


MARTIN RICO f 


2—Venice 
ee x 


On the right of a narrow canal is a gray building with a series 
of arches and columns applied to the upper story, and a buff awning 
extending over the doorway on the step of which sit a woman and child. 
Beyond this building is a high one rising with several gabled roofs, 
and at this point the water is spanned by a flat-arched bridge, through 
which appear an approaching gondola and distant houses. 


Signed at the right, Rico. 
Height, 11% inches; width, 6% inches. 


Rico was for a long time with Fortuny in Italy, and his pictures also 
have the sparkle and zest of champagne. But, for all their piquancy, 
they are broader in treatment than his compatriot’s, being marked by 
an intensity of light and delicacy of atmosphere. He is especially 
fond of i the lazy, iambent SOUERIS of noonday SES ales 


f An 7 


ate ¥ a, “4 4. of LE, | tog fc) Lg — CS Pe / ¢ 


On opposite sides of a wall two= vers are leaning across to kiss 
each other. The one in full view wears a white robe with long looped 
sleeves, and a dark blue sleeveless jacket, while the bust of the other 
is clad in a yellow jacket with similar white robe. On the ground 
stands a red earthenware pitcher, beside which lies another. 


Signed at the left, Pettenkofen. 
ee 10 inches-; width, 8 inches. 


M. A. Dreyfus Collection, Paris, 1889. ¢ i Co Che ts #7 bcs XXA 
te _cassctttoetpt At ESB AD ALE ALN staal ene ; : SA 


Pettenkofen spends his summers in Hungary and painis the 
peasants or the inhabitants of the little towns at their toil or in their 
moments of relaxation. His pictures are very simple and unaffected 
in subject, records of some picturesque action rather than of character, 
and distinguished by a delicate tonality of color. 


JOSE BENLLIURE 


94—A Cardinal 


AA Ene 


On his seat within the sanctuary an old cardinal reclines, with his 
head bowed, his hands upon the arms of the chair, and his feet resting 
on acrimson cushion. Beside him stands a tall lighted taper and close 
by is seen a corner of the altar draped in purple. Farther back in the 
scene peasants are kneeling, and beyond them are the railings of the 
screen. 


Signed at the right, J. Benlliure. 
Height, 1214 inches; width, 8 inches. ) 


Benlliure’s large canvas “A Vision in the Colosseum” made a 
great sensation in the Munich Exhibition of 1883; but his admirable 
skill is more agreeably shown in his little pictures, which give him 
worthy rank among the followers of Fortuny. 


I. LAUPHEIMER 


, . 95—A Filirtation A we Y 


i In a recess, formed by a wall with roses climbing over it, sits a 


girl, resting her left elbow upon a table and holding a blue jug upon 
i her apron. She turns smiling towards a gentleman in dull purple 
| satin coat and white peruke who leans his hands upon a cane and 
smiles at her. A glass stands before him on the table and his three- 
cornered hat lies upon a barrel to the left. 


Signed at the right, I. Laupheimer /84. 
Height, 9% inches; length, 10 inches. 


ij 
i 


W. LOWITH 


96——The Connoisseurs 


ie 7. 


A party of connoisseurs is visiting studio and the painter, in long 

blue coat, stands at the left of his picture, pointing out its features. 

_ One of the party examines the canvas at close range through his eye- 
glass, while another sits at some distance, leaning back in his chair in a 
critical attitude. On the left of the foreground are piled some prop- 
erties, including an image of the Madonna and a blue and rose colored 


Chinese jar. 


Signed at the right, W. Léwith, 1890. 
Height, 9 inches; length, 12 inches. 


= GABRIEL MAX 


97—A Girl’s Head / Léton- : 


| The face of a girl looks out of the picture with a searching expres- 


sion in the large brown eyes. Her soft flaxen hair falls in loose curls — 
on to her shoulders, over a pink dress which is shaped in a curve around 
the neck. 


Signed at the right, G. Max. 


Height, 1214 inches ; width, 9% inches. 


Gabriel Max is one of the strongest and most original of the 
Munich artists. Especially has he chosen for his themes some phase 
of girl or womanhood subjected to torture, or the visionary look of the 
face under spiritualistic or hypnotic influence. Even when he paints, 
as in this case, a simple head, he gives to its expression something of 


the bitter-sweet, of a sort of mysterious, ensnaring blend of sweetness 
and sadness. 


UNKNOWN 


98—A” Copy after Fr 


On a circular gilded metal panel is a group of angels, each resting 
her foot upon acloud. Their robes, pale blue, rose, or plum-colored, 
are spangled with gold stars, and the figures at the back stand in a 


row blowing long trumpets. 
Diameter, 13 inches. 


rahe 


Diameter, I 13 inches, 


ile 


g3e 
JEAN LOUIS ERNEST MEISSONIER * — | 


1oo—The Philosopher 


a A Wc. in black skull-cap and crimson velvet robe 


with full sleeves, leans back in an oak chair, resting his head upon 


his hand and studying a parchment. On the green velvet table cover in 
front of him lie parchments and books, one of the latter having clasps, 
another strings. Behind the table stands a reading desk, holding a 
volume bound in crimson levant with gold tooling. 


Signed at the left, AMeissonier, 1880. 


Height, 12% inches; length, 15% inches. 


Meissonier’s superiority to other French painters of manners and 
costumes of the eighteenth century consists not only in the fidelity 
to nature with which he renders the figures, but in the complete unity 
of effect that he gives to the figure and its surroundings. He used to 
arrange the scene in his own house or studio and from the first saw the 
picture as a whole, and not as an aggregation of effects gathered piece- 
meal. Hence the picture has a completeness of realistic truth to nature 
which gives a peculiar cachet to his works. 


-BENES KNUPFER 


1o1—A Sea Nymph ee Lita 


On a ledge of rock, over which a blue drapery is spread, a nude 


woman lies; a wall of rocks towering above her and the green sea 
breaking in spray around her. | 


“b Height, 14 inches; width, 10 inches. 


ETIENNE PROSPER BERNE-BELLECOUR 


102—The Trooper’s Story 


abr officer in blue tunic and red cap and “eles leans forward with 
his hand on the neck of his bay charger as he sits listening toa tr ‘cooper , 
in steel and brass helmet who stands by his side. The latter rests one 
hand on the officer’s holster while he points over his right shoulder 
with the other. At a little distance back, towards the right, two other 
soldiers are standing, and beyond them appear a stack and cottage, 


enclosed by a hedge and sheltered by trees. 


Signed at the left, E. Berne-Bellecour, 1899. 
Height, 16 inches ; length, 22% inches. 


4 TV: A. A’ LESREE 


Ee The Halberdier - Vp wa 


In a corridor with vaulted roof supported on Byzantine columns 
and with a staircase leading up on the right the man stands, holding at 
arm’s length his halberd, grounded upon the floor, his left hand on 
his hip. The uniform consists of a red cap, a white silk jerkin with 
a very short jacket of amber damask, and bi-colored hose of scarlet and 
dull yellow. 


Signed at the right on the base of a column, A. Lesrel, 1873. 
Height, 17% inches; width, 11% inches. 


CHARLES FRAN COIS DAUBIGNY 


P| j j 5 \ 
A+ / Vitam \ 
Sap naartesrtaa erect See ~ P| 
104—Summer teatlg G4 
a 7 
a oo fF, Paps € é fy 3 ome re ae 


The river, scattered with Rede of lilies, winds between indented 
banks, the right one sloping up with grass to where a woman sits near 
a dun cow, watching a man who stands in a boat fishing. On the left 
bank grow poplars in front of other trees, and a dark belt of foliage 
stretches across the distant horizon. Above the creamy rose of the 
lower sky, gray clouds dapple the faint blue. 


Signed at the right, Daubigny, 1871. | 
Height, 13 inches; length, 22 inches. 


Daubigny excelled in rendering the delicate, vaporous air and the 
quiet hush upon water and meadows, at the twilight hour—and with- 
out any touch of sadness. The feeling of his pictures is gladsome as 
well as restful, full of the happy, simple, xatveté of a child. 


W216 
a. 


GAL A 


' v SALOMON CORRODI 


105——Bay of peau GA : ; 
; ial aie Water ee | 


Vesuvius shows against the horizon and from the distance the blue 
water of the Bay of Naples, dotted with sails, extends to the front of 


the picture, where it is bordered on the right by a terrace walk. This 
skirts a high wall overhung with trees and is edged on the water’s 
side by a parapet, leading on to a stone archway, where two monks are 
standing. At intervals along the walk are stone benches. 


Signed at the right, S. Corrodi, Rom. 


Height, 13 inches; length, 20 inches. 


106—Fontainebleau Forest 


a) 


N. V. DIAZ DE LA PEN a f ys O} 


( yV/ A (. IG ~ > 4 
' ; tf fi j yy ™ 4 
rae iia Sina ois a 


The long glade is bordered by beech and oak, the light shining 
upon the distant trees and upon some white tree stems on the right, 
falling also in a flash of glow upon the grass. Near the foreground, 
beside a bowlder, is a little hollow filled with water that reflects the 
gray of the sky. 


Signed at the left, N. Diaz /72. 


Height, 17 inches ; length, 21 inches, 


Diaz often accosted a visitor with the inquiry, “ Would you like to 
see my latest tree stems?” He loved to paint the light upon their 
smooth or wrinkled surfaces; to paint it also percolating through their 
canopy of foliage, or frisking in unexpected freedom upon the green- 
sward. Light was his constant theme, on which he found endless 
variations in the recesses of the forest. 


1. JEAN FRANCOIS MILLET 


107—-The Washerwoman 


& 


Chalk Drawing 


Standing in front of a chimney in which hangs a caldron, a peasant 


woman is pouring liquid into a large tub, through a cloth strained 
over its top. The tub is supported on trestles, and underneath it is 
a smaller one into which the liquid is flowing. 


Signed at the right, J. F. Millet. 
Height, 17 inches; width, 12¥% inches. 


Millet takes rank among the few really great draughtsmen of all 
time, and his command of line and mastery of expression are exhibited 
supremely in the inspired authority of the few strokes that compose 

‘ his etchings and drawings. 


= THEQDORE ROUSSEAU nd at 
ye 
2 i 
ros—Sunset after Rain= 4 4 @ 3% d. 


Overhung with purple-drab clouds, the sunset is streaked with 
layers of cream and blood red against which show a dark wall of trees 
and the silhouettes of two higher clumps. The latter grow on opposite 
sides of a raised road along which a man is approaching. To each hand 
is a stretch of water, the one on the right shining like burnished copper; 
and in the foreground are tufts of bright green reflection. 


Signed at the left, Th. Rousseau. 
Height, 1114 inches ; length, 15 inches. 


Rousseau’s deep and powerful reverence for nature, which grew in 
time into a kind of nature worship, led him to most minute study of 
her forms and phases. ‘This represented the active attitude of his mind 
in presence of nature: for the rest he passively surrendered himself, 
losing all thought of personal sentiment in the complete absorption of 
his soul into the subject before him. Hence the grandeur of the poetic 
suggestion in his pictures—a suggestion straight from nature and 
altogether of nature, comprehensive and infinitely convincing. 


eS eee sient! 


\ 


| O jar 


Pastel : 


» 
F 4 


The head is seen full front, with a blue shadow on the right of its 
a muzzle and a warm glow illumining the other cheek and glancing on 
‘ the fine, curling horns. 


Signed at the left, Rosa Bonheur. 
Height, 18 inches; width, 1414 inches. 


Not only did Rosa Bonheur know her beasts thoroughly and depict 
them with unerring fidelity, but she imparted to her drawing a large- 
ness of style that raised it far above the ordinary. 


JEAN BAPTISTE CAMILLE COROT 


ae a Trees, : rant 


¢~~ } tt Leet # é f “aes? ! ree ees 
ao hep Fr Be 
Ly =p as i ; é ah . *. gt ia yA 


; 19688 ~a/d5 
The avenue Hoox bus.” the rey a ine eure Aeheee with yee: ; 
sunshine and shadow, while the light plays softly also on the birch 
stems. Some of the trees on the right lean over the path, and beyond 
the border of grass on the left runs a wall, on the inside of which is 
another row of trees. Down the pathway comes a woman with a little 


child. Ans 1027, 
DORR in a 

Signed é the left, Corot, - | ba 
P Height, 24 inches ; width, 18 inches. Seem 

é jon A KP gern “3 ig otha, wee € Gata d ne Sey go 

Cen fe FR : 
Corot is the “sweet singer” of the Barbizon group, reproducing jj... 
j 


the sweetness of his own disposition in his choice of gentle subjects 
and in the tender melodiousness with which he renders them. The 
sunshine and shadow, the foliage softly massed against the tremulous 
sky, vibrate with songful rhythm. His ear catches the spiritual har- 
mony of the scene and he translates it into color with Vs naiveté y, 


ee of 


unconscious poetry. Presk aprg het @ 


ar 


111—-The New Suit 4 wa 
; rN Co 2 


A little boy in scarlet waistcoat and white breeches is being pre- 
sented by an older child to an old man in dark green jacket and fur cap, 
who, pipe in hand, leans forward in his chair. Behind him stands a 
woman and on the floor sits a fair-haired child with a doll by her side. 
Farther back is a mastiff, and through an open door at the back of the 
room an old woman watches the scene. 


"Signed at the right, A. Sperl, Miinchen. 
Height, 17 inches ; length, 21% inches, 


JULES DUPRE 


(qe 
112—Village near the Sea i [ 
Pe. x’: 


In the evening ¢! 


fishing boats are lying high and dry in a little 
creek at low tide, that winds towards the foreground between banks 
on which are cottages. The one on the left has a brown-gabled roof 
and central chimney, and a red garment is hanging on the net rack 
beside it. A wall runs up the right slope to a white cottage with 
lean-to ovens. Beyond the creek appears a glimpse of purple-gray 
sea, and the sky is gray with a few light clusters of cloud high up. . 


Signed at the right, Jules Dupré /72. 
Height, 19 inches ; length, 25 inches. 


Sometimes Dupré painted nature in her stress, sometimes in the 
moment of suspense before the storm; or again, as here, in the after- 
throb, when the storm or toil is over. Directly or by implication he 
makes one realize the throe. 


M. STOCKS 


A pug dog sittingAy a pan, with the tip of his pink tongue pro- 
truding from his black muzzle, draws back doubtfully as three kittens 
‘| approach the food. The foremost, a white one, is looking up into the 
dog’s face. On some cushions behind, a tabby lies with its head be- 
tween its paws. 


Signed at the left, M. Stocks. 
Height, 18 inches ; length, 26 inches. 


THEODORE ROUSSEAU 2, 


oo ng country, 


This curiously 


of volcanic origin, bounded by the 
mountains of Auvergne, is a portion of the department of Haute-Loire; 
the little town of Le Puy being seventy miles southwest of Lyons. 
Three masses of red and slate-colored basaltic tufa rise abruptly near 
the little winding stream of the Borne. The houses of Le Puy are 
built in tiers up the slopes of Mont Anis, the large formation in the 
middle distance, which is surmounted by the rocky plateau of Rocher 
Corneille. To the left of a little bridge that crosses the river on arches 
is the high, conical crest of Rocher St. Michel, and in the left of the 
foreground a third mass, around the base of which nestle white houses 
with red roofs. In the Church of St. Laurent in Le Puy rest the 
remains of Du Guesclin. 


Signed at the right, Th. R. 
Height, 1614 inches ; length, 25 inches. 


M. Le Comte Armand Doria ESSE, Paris, 1899. / 
Vente Beurnonville, Paris, 1880. “a? #4» 


‘ “ie 


ee 
Oy 


iy WILL WEX 


_-115—Sunset on Le (Boog | 


Two men are approaching a straw-thatched shed, having left their 
boat beside the bank of coarse grass. The water on the right stretches 
in smooth strips across the picture, alternating with land and burnished 


yellow in the evening glow. The low-lying land fringed with trees is 
purple in the distance beneath a primrose horizon that mounts to gray 
and faint blue. 


Signed at the right, Will Wex. 
Height, 15% inches; length, 3114 inches. 


JEAN GUIDO SIGRISTE | | & 


I 16—Napoleon and his Generals Consulting 


On a patch of grass in the angle of two pathways Napoleon is 
seated at a little wooden table, measuring with a pair of compasses the 
distance on a map in front of him. Sitting on the other side of the 
table an old general watches intently, while around them are grouped 
a number of officers. One in a blue uniform leans with both hands on 
the end of the table; two in black and white, at Napoleon’s back, are 
studying a despatch, and immediately on the right a cavalry officer in 
scarlet and gold leans back ina chair. The chief’s tent is on the right 
of the picture, with a soldier on sentry duty at the door, and on the 
left is another sentinel, who holds his fusil to his shoulder while grasp- 
ing the hilt of his sabre with the left hand. On the reverse of the can- 
vas are several finished studies of grenadiers. 


Signed at the right, Guido Sigriste, 1897. 


Height, 21 inches ; length, 2814 inches. 


Since Sigriste exhibited at the Salon in 1890 he has gained con- 
siderable popularity for his military subjects. 


UNKNOWN 


117—-Copy after Turner’s ‘Childe Harold’s Pil- 


grimage ” pA PS 


_A party of Italian peasants is grouped on the high plateau 1 
foreground, to the left of which a rock pine rears its foliage against 
a blue sky streaked with rosy white. In the distance on the left a hill 
rises in tiers, covered with temple ruins, and down in the central valley 
winds a river, in which is a wooded island connected by a broken bridge 
with the sloping bank on the right. 


Height, 19 inches; length, 33 inches. 


MATTEO VITTORIO CORCOS ; 


ee The Proposal G4 See | : | 


The same lady as in the companion picture, holding a black hat 
suspended in her hands, leans lightly against the balustrade with her 
back to the sea. She is looking down with a smile at a gentleman in 
a boating jersey of blue and white stripes, who, probably standing in 
his boat, rests his arm on the balustrade as he gazes up into the lady’s 
face. The packet-boat is disappearing in the distance. 


Signed at the right, V. Corcos /83. 
Height, 36 inches; width, 23 inches. 


MATTEO VITTORIO CORCOS 


Pea V & bo 


A lady in white costume with long black gloves has risen from a 


‘i camp stool and is leaning against a balustrade overlooking the sea, 

: watching the distant packet-boat. Another lady, dressed in a blue . 
gown with transparent lace sleeves and purple embroidery on the 
bodice, holds her companion’s hand, looking up into her face as if in 
sympathy. 


Signed at the left, V. Corcos /83. . 
Height, 36 inches; width, 23 inches. 


HERMAN CORRODI oy Fe 


120—View on the Nile LE, 


The river, tranquil in the sunset glow, winds back from the front 


of the picture, the vista terminating in two pyramids, which show softly 
against a blood-red horizon. The sky above it trembles with saffron 
tints, melting towards the zenith into violet. Upon the bank in the 
foreground four Arabs are kneeling on their praying rugs, while two 
others stand; all turned towards the sunset. A little way back on the 


eee 


right their sailboat is moored opposite to a small square building, whose 
domed roof is surmounted by a crescent. Two palm trees rise above 
it, and beside the enclosure of the building a white awning has been 
erected, under which figures are grouped. 


Signed at the left, H. Corrodi, Kairo, 1879. 
Height, 39% inches; length, 25 inches. 


In his landscape and genre subjects Herman Corrodi exhibits a 
charming sense of color and the ability to express very genuine feeling. 


F. AERNI 


'121—-A Mountain Pass I. e the 


A mountain path skirting a steep incline winds up towards the 


right, past a wayside cross to a high bluff of rock, whose dove-gray and 


brownish-yellow mass fills almost the whole of the upper part of the 
picture. At the foot of this rock in the distance is a little, pale yellow 

i building with red roof, towards which, in the foreground, a brown- 
habited monk seems to be journeying, walking beside a donkey that 
bears white bags with a blue umbrella laid across them. 


Signed at the right, F. Aerni, Rom /97. 
Height, 45 inches ; width, 28 inches. 


JULES BRETON 


122—Harvesting the Poppies es A igh ; 
: iG ie 
HAW EZ 
; y ae 
Women in a line are reaping the purple poppy pods, a girl inthe | 


foreground is binding stems together, another stooping to gather up 


some sheaves, and farther back a girl and a man are setting up a stook. 
A windmill and stack appear against the pale rosy horizon, above which 
a nearly full moon floats in the gray sky. 


Signed at the left, Jules Breton, 1896. Sad Ag : vt ° 
Height, 35 inches ; length, 53 inches 


Jules Breton is the graceful sentimentalist of peasant life, fond 
especially of sunsets and of depicting young girls in the labor of the 
fields—girls that Millet said were too beautiful to remain in the coun- 
ry. A strain of poetry runs through all his pictures. 


123 Waiting a g ‘Ln, _A 


WILLIAM BRADFORD 


| 


A three-masted sailing ship lies under an iceberg, with her bow 
pointed in the direction of a narrow channel of water that winds through 
the field of ice. The berg immediately behind rises up to a blue peak, 
while another to the right has a cliff formation, and others similar in 
shape appear in the distance. The sky is of slate color, dark and op- 
pressive. On the right of the foreground some green ice-rocks are 
reflected in a pool of water. 


Painted in 1874. 
. Height, 30 inches ; length, 48 inches. 


Bradford made seven visits to the Arctic regions, and his interest 
has reached beyond the mere grandeur of the spectacle. He is able 
to render with intense significance the feeling and character of the 
North. 


CONSTANT TROYON / f ““ 


124—Landscape and ee ea SIS | 
‘ , <P 


A pale dun cow, grazing upon the short grass, keeps closet to a 
black bull, who stands sideways scenting the air. His head is near to 
a bunch of weeds, which continue with bold vegetation through the 
right of the foreground. On a ridge of the meadow beyond a lean 
buff cow is moving away, and slightly farther back a brown and a white 
cow are butting their heads low down. In the middle distance appears 
a man walking beside a horse and his rider. To the left of the meadow 
is a row of willow trees that catch the cold light, which also gleams 
shiftily across the grass from a pale blue sky in which are volumes of 
white cloud, grayed underneath, and a gathering storm cloud, 


nN LAL L.8 J i 
Mw 4, OM ae = 
Signed at the left, C. Troyon. Aa ad gt be 
Height, 3834 inches ; length, 5134 inches. 


' 


JA k= &0 
j ; 
¥ 


¥ v » ye . . 
ri 


In Troyon’s pictures the form and character, equally of the land- 
scape and of the cattle, are represented. The goodness of the rich 
green grass has entered into the beasts, and the nourishment of plen- 
teous, wholesome air. On a sunny day their huge, lumbersome forms 
partake of the genial lassitude: when there is stir of cloud and wind 
their actions become a part of the general movement. The signifi- 
cance of this interdependence Troyon rendered with supreme com- 


pleteness. 


F, AERNI 


‘ 12 5—Italian Village pee: se Ve es: Mon 


A view of mountains and of sunlit country appears at the end of — 


the narrow street, down which two ox-wagons are approaching, the 
driver of the front one standing up and brandishing his goad. On 
the left a donkey, with panniers full of corn-stalks and a child perched 
between them, is going from us, and on the opposite side of the street 
is a peddler of onions. On the right also is an open stall, with dried 
fish hanging up and flowers and other articles upon the counter, be- 
hind which a woman stands attending to the wants of a few customers. 


Signed at the left, Fr. Aerni, Rom /88, 
Height, 48 inches; width, 29 inches. 


; 
" 
2! 


77, \o 


A. ASTI Fi 


126—A Nude Girl SO SIG ii 


On a dull crimson couch which is partly spread with a drapery of 
cream and pale green damask, sits a young girl, her back towards us 
but the face and limbs seen in profile. Her long hair gathered loosely 
at the neck with a red ribbon falls in a stream over her shoulders; 
her right hand, placed on the couch, sustains the weight of the body; 
her left apparently rests on her breast: she slightly inclines her head 


and looks up with her blue eyes. 


Signed at the right, A. Asti. 
Height, 51 inches ; width, 314 inches. 


Ru itt 
heE 
Hi fs . 


i=) 
Ur ee HERMAN CORRODI 


|| 127——Evening on the Lagoons pe 
: ee Ait? 


A little shrine hangs on the foremost of the groups of posts which 
mark the entrance to the lagoons, and nearby two long fisher boats lie 


side by side, while the crews pause in their work to play. Over the q 
stern of the nearer boat is stretched a dull orange awning in front of 


which rises a curl of thin smoke. Farther back are white swallow 
sails and two tawny ones dotting the distant white line of the gray-blue 
water. Whitish gray clouds are piled over the horizon and scattered 
throughout the upper blue. 


Signed at the left, H. Corrodi, Roma. 
Height, 34 inches ; length, 65 inches. 


To Italian skilfulness of technique Corrodi joins a seriousness of 


motive, resulting possibly from the influence of his father, who long 
painted among the Swiss Alps, and of his brother, who was an historical 
painter, as well as from his own extensive travel and study. 


oR 4 
a 


CARLO DOLCI 


128—Lucrezia Borgia of SLES 


The head and bust are shown; the latter draped with white fabric 
that is caught together on the shoulder with a jewel, leaving the right 
breast bare, on which appears the head of a snake. Her head is slightly 
inclined to the left, the eyes looking up; and over her wavy yellow- 
brown hair is a crimson cap set with gold and gems, which is sur- 
mounted by an arched ornament of old rose-colored silk. In her ears 
are gold cross-shaped pendants, studded with blue stones. 


Height, 13 inches ; width, 9 inches. 


Carlo Dolci’s tendency to sentimentality should not cause one to 
overlook his skill as a painter. 


Wi 


is. 
ra 


J 


y ip 


CORNELIS VAN CEULEN JANSSENS 


129—Dutch Gentleman Doe pe 


Sitting sideways at a desk with his left fingers between the leaves 
of a book and a quill pen raised in his right hand, a gentleman in black 
robe with white ruff and lawn cuffs, turns to look towards us. He has 
short brown curly hair and a soft mustache and Van Dyck beard of the 
same color and 'the flesh tints are bright and clear. In front of his 
desk is a large bust; a dull drab pilaster is set against the wall behind 
him and in the top right hand corner appears a coat of arms—blue and 
buff diagonal stripes, surmounted by a five-point coronet. 


Signed at the lower centre, Janssens, 1629, pinxit. 


Height, 13% inches; width, 11 inches. 


Cornelis Janssens during part of his career showed the influence of 
Van Dyck both in the freshness of his coloring and by a certain finesse 
in the pose. His portraits, refined in conception, correct in drawing, 
and careful in details, are to be found in the National Gallery in Buck- 
ingham Palace, in the Town Hall of Amsterdam, and in the Museums 
of Utrecht and Rotterdam. 


ua 


GERARD D 


~ 130—Old Woman Chopping Onions, by Candlelight 


The light of a candle illumines with a warm glow the face of an old 
woman, her dull red gown, and a dark crimson curtain that is draped 
upon her right. She stands at a table in the middle of which is a large 


shallow bowl in which she holds the chopping knife; onions, some other 


vegetables, and a brown earthenware jug also lying on the table, dimly 
seen in the half shadow. The woman looks up, with her lips slightly 
apart, showing the teeth. 

Signed, G. Dou. 

‘Height, 12 inches; length, 15 inches. 

Collection of Mr. Donovan, Brighton, England. 

Collection of Mrs. Poullett, London. 

Collection of T. Humphrey-Ward, London. 


Among the “ Little Dutchmen” Gerard Dou was a painter great in 
little things. He attained wonderful mastery in delicate execution: 
and his works are remarkable for high finish and for lightness of hand- 
ling, and for the attempt to introduce into them the principles of 


chiaroscuro learned from Rembrandt. 


OLD MASTER 


| 131—The Church Beggar A 


On the ground to the left sits a beggar with a rag round his head 


8 SE ee 


and a cloth round his loins, supplicating alms of a priest. ‘The latter, 
who is giving him money, stands on the step of a church porch, behind 
him being an attendant with a large book. To the right are grouped 
other applicants for alms, among them a woman with a baby who is 
coming away, leading a little child that holds up a coin. 


Height, 14 inches ; length, 14 inches. 


wa-4 
SIR THOMAS LAWRENCE, P.R.A. Jad 


-132—Portrait of the Rev. Burroughs Thomas Nor- 


gate, M.A., at the age of twenty-three 


The figure of a young man is shown as far“as the waist, facing 
three quarters to the ieft, while the head is turned towards the right. 
The pale blond hair parts in two soft locks on the forehead, and the 
complexion is fresh in color. Beneath the chin hang white lawn bands 


over a black gown. 
Height, 2414 inches ; length, 29% inches, 


The Rev. Mr. Norgate was incumbent of Badwell and lecturer of 
Ashfield; Fellow of Caius College, Cambridge. Died, 1855. 

A brilliant brushman, Lawrence gave to his portraits an exceeding 
graciousness of mien. From the time of his election as a Royal Acade- 
mician, at the age of twenty-five, he enjoyed an unrivalled reputation; 
and to-day his portraits rank in the early English school as second only 
to those of Reynolds and Gainsborough. 


Pi REMBRANDT VAN RYN 
a ee Vd 


Picci of an Old Man 


Ba iveroen 


This head and bust is known as the “ Portrait of an Ole Man with 
his Throat Uncovered.” It represents a massive head with iron-gray 
short curly hair, mustache and beard, slightly inclined towards the left. 
The flesh is full and thick, heavily wrinkled on the forehead, of warm 
yellow hue with ruddy cheeks; the nose being broad and strong and the 
brown eyes rather deep set. The throat and chest are exposed by the 
open white shirt, over which is a dull wine-colored robe. The light 
from above illumines the right side of the face and the right shoulder; 

_ the background on this side being dark_olive browg andfon the shaded 
side of the head, a warm drab. xv of : At Le: ; : 


iv : gee 
Signed above the left shoulder, Rembran@e’1635. 


Height, 26 inches; width, 21 inches. 


Described in Dr. Bode’s complete work of Rembrandt “ Vol. III.,” 
No. 204. Engraved by Jacquemart in the Gazette des Beaux Arts, 
and in the Demidoff Sale Catalogue, exhibited at Amsterdam in 1808. 
Described in Vosmaer, p. 508; Bode, p. 589; Dutuit, pp. 21, 51, No. 
381; Wurzbach, Nos. 292, 299; Michel, pp. 217, 563. 


From the Auginot Collection, Paris, 1875. 

From the Prince Demidoff Collection, San Donato, 1880. 
From the (Ch. Sedelmeyer Collection, Paris, 1880. 

From the Leopold Goldschmidt Collection, Paris. 

From the Thos. Agnew & Sons Collection, London. 

From the R. W. Hudson’s Collection, London. 


This portrait was painted a year after Rembrandt’s marriage with 
Saskia during the happy period of his life. He was but twenty-nine 
years old, and yet, already by the fertility of his brain and hand had 
amply proved himself a master. Nor a master only of his craft, dis- 
tinguished by the amazing versatility of his craftsmanship, but a master 
also of the human mind and heart. Their humanity is the crowning 
excellence of his portraits. The subjects are persons of like passions 
_ with ourselves, with whom our experience establishes an immediate 
companionship of sympathy. Separated from us by centuries and by 
the difference of race, they yet grow into our comprehension and 
affection, as truly typical of our common human nature. Of all the 
pictures of the world, Rembrandt’s are the most perennially human; 
the noblest and the fullest in their humanity. 


JOSEPH MALLORD WILLIAM TURNER 


1 
 135—-Landscape with Cows 
tr j 5° Water Color 


of a ruined monastery. A tree stands near the arched entrance, and 


On the opposite bank of a narrow river rises the quadrangular block 


farther back, on the left, appear other ruins. Beneath the bank two 
cows stand in the water, and on the nearer bank in the foreground are 


nine others; one standing on a small mound and others extended along 


a narrow spit of land that juts into the water. Under a small bushy 
tree on the right sits the herd with his dog, and the view vanishes 


to a pale amber horizon, where in the vapor are the faint indications 


| 
of a town. 
Signed at the right, and dated 1806. 
Height, 30 inches; length, 47 inches, 


While Turner’s water colors, the works for the most part of his 
early life, are without the vast imaginings of his later pictures, they 
make up for the lack by their extreme sincerity to nature. Moreover, 
they have not suffered in color by the effects of time. He had a perfect 
grasp of English scenery, rendering form and construction with marvel- 
lous accuracy, in colors of exquisite purity and with most delicate truth 


of atmosphere. 


PETER PAUL RUBENS 


pe ® 
| 136—-Portrait of 2 Gentleman : 


The figure stands against a dark olive background, seen as far as 


the knees, facing three-quarters to our right. Dark brown wavy hair 
grows short over the head; the dark eyes look to the left; the flesh 
tints are warm amber with ripe red cheeks; the small mustache is 
light brown and the beard of the same color is cut rather bushily to the 
shape of the chin. The gentleman carries his left hand on his hip and 
the other one hanging down, holding a pair of drab-colored gloves. 
He wears a ruff round his neck and russet-brown quilted sleeveless 
jacket and bloomers, and an under coat also quilted but black; a black 
silk mantle hanging in folds over the left arm. A black chain appears 
at his waist and a gold ring with blue stone on the little finger of 
the left hand. 
Height, 41 inches; width, 28 inches. 


Collection of Colonel Hankey, Beaulieu. 


A superb master of form and color, with a brush unrivalled in its 
facility and assurance, Rubens imparts to his portraits the splendor 
of physical qualities: the sensuous charm of glowing flesh, the grandeur 
of the firm frame through which the warm blood courses, and above 


all the fine assertion of his own magisterial personality. 


; FRANCESCO GUARDI 


137—View of the Square of St. 2 of 


Large loose clouds roll in the deep blue sky, the cool light touching 
the domes of the cathedral and falling fitfully upon the upper part of 
the buildings on the left side of the square, and on the square itself. The 
ul latter is half in shade from the fagade of the Royal Palace, and is 
“i sprinkled with groups of gayly dressed figures in long cloaks and 
M hooped dresses; a prominent one being a gentleman in the centre of the 


foreground wearing a crimson cloak. Opposite the left side of the 
cathedral stand several little tents, and beneath the Campanile the 
crowds stand round a covered platform on which are figures. 


Height, 4454 inches ; width, 313¢ inches. 


-Guardi’s views of Venice are very spirited and lifelike, rendering 
with delightful freedom of execution the character of the architecture 
and the animation of the figures and groups. His colors are pure and 


enlivened with charming accents of brilliance. 


TITIAN ode 
see 


138—Portrait of Antonio Grifnani, Doge of Venice 


Against a dark background, over which on the right side a wine- 


(See Frontispiece) ¢ 


colored curtain is draped, the figure stands before a table almost full 
face. The right hand, closed over a dainty white handkerchief, resis 
upon the crimson table cloth of Eastern fabric, on which also lies a large 
lemon with leaf attached. The costume consists of the doge’s cap of 
cloth of gold studded with jewels, and a white ermine cloak, falling 
below the waist and opening down the front, so as to show the edge 
of a rich golden-brown cloak, worn over a crimson suit embroidered 
with gold. The flesh of the face is bronzed and tough; the eyes, half 
closed and wrinkled, at the same time tired and penetrating; and the 
lips are tight set and puckered with age. It is a face of indomitable, 
unscrupulous resolution, marked with suffering. 


Height, 377% inches ; length, 44¥/ inches, 


Crowe and Cayalcaselle, in their “ Life and Times of Titian,” write 
of this picture as follows : 


“ Antonio Grimani, elected doge at the age of eighty-seven, was the first prince 

of Venice whose likeness Titian, in his official capacity, was called upon to paint. 
There was never, perhaps, a sitter whose face bore a more distinct character, or more 
surely displayed the marks of a long and cunning fight with fortune. Before the age 
at which Venetian patricians claimed a seat in the senate, Grimani had visited every 


market in the Mediterranean and acquired enormous wealth. At Rome, in 1493, he 


gave his son Domenico 25,000 ducats to buy a cardinal’s hat. His own claim to office 
was recognized at Venice in 1494, when he was elected a ‘ procurator’ and captain 
general of the fleet. In this capacity he served with distinction against the Turks, 
Though loath to accept a second command, he was again elected a captain general in 
1499, and reluctantly assumed the dangerous honor. In August, the Turkish and 


Venetian squadrons lay watching each other near the coast of Greece. The Turks, 
with two hundred and sixty ships, were covering the Sultan’s forces investing Lepanto ; 
the Venetians, with two hundred sails, waiting for an opening to attack the Turks. 
Unfortunately, jealousies divided Grimani from his subordinate, Andrea Loredano, 
who had left Corfu without orders, yet received an ovation on joining the fleet. 
According to some authorities, the captain general allowed Andrea to engage, and 
then withheld his support; according to others, Grimani was paralyzed by the diso- 
bedience of his subordinates. The Venetians were beaten, Lepanto fell, and a 
Turkish squadron sailed victoriously into the Gulf of Patras. When the news of this 
defeat reached Venice, the people burst into a paroxysm of fury, and mobs paraded 
the streets cursing Grimani as the ‘ruin of Christianity.’ Marchio Trevisani was sol- 
emnly appointed to supersede him, and orders were despatched to send the luckless 
admiral in fetters home. In the meanwhile Grimani’s command had expired, and 
word came from Corfu that he was sailing for the Lido in the admiral’s ship. At 
Parenzo he was met by one of his sons, Vincenzo, who informed him that a decree had 
been issued by the senate, requiring him to surrender his galley and return home in a 
transport, Fearing lest neglect of this order—though unintentional—might cost 
Antonio his life, Vincenzo put his father into irons with his own hands, and took him 
in a pilot-boat to Venice, where he arrived at sunset on the 2d of November, escorted 
to the Riva by the captains of the port castles. Domenico, the cardinal, in his rochet, 
came out to meet the prisoner, but the mob which filled the quays threatened to stone 
the admiral; and the wretched occupant of the pilot-boat was only saved from death 
by hiding under the thwarts of its bow. At six o’clock Antonio Grimani, in a jacket 
and short red hose, bare-legged and fettered, was landed by torchlight in presence of 
the Avogadori and chiefs of the Ten and taken to jail, where Vincenzo and Domenico 


were allowed to watch him as he lay shivering with fever in a cell with a grated win- - 


dow. For months Grimani endured confinement. He was tried in the summer, and 
despatched in autumn to an island prison near Cherson in the Black Sea. In 1502 he 
escaped to Rome, where he lived with his son the cardinal for several years. The 
part which he took in reconciling Venice with the Papal See after the League of 
Cambrai entitled him to a pardon, and on the 26th of July, 1509, he appeared publicly 
in the College of Pregadi. In 1510 he was reélected procurator of St. Mark, de supra - 
and in 1521 he beat all his adversaries for the dogeship. 

“ This portrait of Antonio Grimani, of life size seen to the knees, was painted by 
Titian for the private collection of the Grimani family, and remained three hundred 
and fifty years as an heirloom in the Grimani Palace at Venice. 

‘It was bought in 1871 by the Countess Mathilde Berchtold-Strahan and sold by 
her in 1873 to the Chevalier Friederich von Rosenberg, consul general for the Nether- 
lands at Vienna.” 


BARTOLOME ESTEBAN MURILLO _ 


139—Mary Magdalen ‘PA y 


The Magdalen kneels facing to the right, her body turned three- 
quarters to the front, the head slightly raised and seen almost in profile. 
A plum-colored drapery hangs in folds from the waist, leaving the right 
foot exposed. Her hands are laid together in prayer with the fingers 
pointing upwards and leaving the right breast visible, round which 
falls a tress of the dark golden-brown hair, while another tress crosses 
her right arm. On the floor in front of her are a skull, a scourge, and 
a pyx of ointment. 

From the galleries of King Ferdinand VII. and of the Queens 
Christina and Isabella of Spain. 

Height, 65 inches ; width, 47 inches. 


Presented by Ferdinand VII. of Spain to the Dowager Queen 
Christina. 

Sold by order of H. M. the Queen Isabella to Mr. Brooks. After- 
wards in the Collection of Y. Osmaston, Esq., and Sir John Sinclair, 
Bart. 

Exhibited at the Royal Academy, 1879. 

Exhibited at the Spanish Art Exhibition, London, 1894. 

Mentioned in Curtis’s Velasques and Murillo, p. 261, No. 373. 

Etched by Lurat. 


Murillo’s religious pictures are marked by extreme purity of draw- 
ing, by color not always of such chaste sobriety as in this picture, and 
by a gracious idealism that sometimes, no doubt, is tinged with senti- 
mentality. At his best, he rises to a tender elevation of spirit, and to 
a most sweetly serious gravity of expression. 


te with Cows and R 


AELBERT CUYP 


Pas ge 
The salient features of this striking composition afe a background 
of hill covered with ruins and two large cows lying in the centre of 
the foreground. The latter is of bold, irregular masses of turf and 
rock and vegetation, dark with shadow, in the centre of which a dun- 
colored cow forms an ample space of amber light, the glow being 
more subdued on the dull red coat of a second cow and catching 
points of color on some figures. On the extreme left of the fore- 
ground rise two tall tree stems with loose, brown foliage at the top. 
Below them stands a man holding on to a small bough, and by his side 
sits another in dull, rose-colored waistcoat with bright blue sleeves and 
a large buff hat, who bends over a fowling-piece. On the right of 
the foreground a boy is coming forward with a fishing-rod, while a 
woman with a pick stands behind a rough board fence. At the back 
of these latter figures is a waterfall, half-way up the steep ascent, which 
is covered with towers and other structures. The buildings are con- 
tinued down the slope of the hill towards the left, terminating at the 
extreme left in a group of towers that are seen across a pool of water. 
The latter is connected by a stream in the middle distance with the 
waterfall. The sky is of warm, creamy color, graying towards the 
zenith. 


Signed at the left, A: Cuyp. 
Height, 42% inches; length, 60 inches. 


In his compositions, Cuyp shows himself a master in the seizing of 
accidental combinations, so that his canvases are rarely without the 
charm of surprise. In this remarkable picture, the surprise is less due 
to such subtleties as those of lighting than to the arresting features of 
the scene itself. He was a master also in the rendering of light and 


— " 


atmospheric effects, of lambent warmth and pearly haze, with a fine 
command of perspective both lineal and aerial. THis use of cattle is 
always significant. Being many-sided in his art, he introduces them, 
as he does other subjects, for their value to the whole scheme. He 
draws them with a splendid facility ; with a large and flexible knowledge 
of their forms, and with a special regard to the opportunities they offer 
of noble patches of colored light. His color is always refined and 
often brilliant, while a large and ample serenity characterizes the feel- 


ing of his landscapes. 


PETER PAUL RUBENS 


14i—]Tef Holy Family poe JEL | 


The Virgin is seated with the Infant Christ standing upon her left. 
His left arm is around her neck, and the other extends down towards 
the infant St. John, who stands at the Virgin’s feet. Behind the Mother 
and Child stands St. Elizabeth, with her hand on the Infant’s arm, and 
in the shadow to the right is St. Joseph. On the left of the composi- 
tion, St. Francis d’Assisi bends forward, with his arms crossed over the 


bust of his brown habit, and his face fixed in rapt devotion on the 


Child. Beyond him appears a lamb, and still farther back a landscape 
and buildings under a gray sky, streaked with crimson on the horizon. 
Behind the main group is a ruined building, with a tree at the side. 


Height, 8134 inches ; width, 6814 inches. 


Exhibited at Burlington House, 1870. 


Collection of Sir Cecil Miles, Bart., Leigh Cour , Bristoy 1899.9 006 . 
Described by Dr. Waagen in “ Art Treasures of Great Britain,’ 


vol. iii., page 182. 

Rubens was a master-genius only to be compared with Titian, Rem- 
brandt, and Velasquez. Out of the simplicity, purity, and religious 
pathos of the Flemish school of the Van Dycks, he arose as a splendid 
prodigy of material and sensuous power. In the plenitude of his amaz- 
ing strength as draughtsman and colorist; in the versatility of his 
genius and the fecundity of his imagination, he stands alone—a painter 
unapproached and unapproachable. His great altar-pieces may lack 
spirituality of conception—indeed, this Holy Family has but the holi- 
ness of a family wholesomely and happily united—and yet, through the 
grand humbleness of the rich and intellectual figure of St. Francis, still 
more through the stately composition of color and form, the dignity 
as well as the sweetness of the Holy Story is expressed. 


i- 
e 


UNKNOWN OLD MASTER 


feed 


142—Christ and St. Thomas 


The Saviour, with head inclined, has drawn back the robe from His 
chest to disclose the spear wound, into which the doubting Thomas is 
inserting his finger as he leans forward with a gaze of eager scrutiny. 
Behind him another disciple peers over his shoulder, while a third head, 
bald, and gray-bearded and looking down, appears above the head of 
Thomas. 


Height, 41 inches; length, 56 inches. 


143—Eight Cartoons in one Frame 


CESARE MARIANI 


len 


Made to be executed in fresco in the cupola/of the Cathedral at 


Ascoli Piceno, representing several episodes in the life of Sant’ Emidio, 


Bishop and martyr. 


TN 
B. 


Emidio’s conversion to the Christian religion. 
Earthquake produced in answer to Emidio’s prayer, when the 
pagans tried to draw him by force into their temple. 


. Emidio and his Christian followers met by the magistrates of Piti- 


num in the Abruzzi. 


. Recovery of a paralytic, worked by Emidio. 
. Conversion to the Christian religion of Polisia, daughter of the Pre- 


fect of Ascoli, by Emidio, to whom she was betrothed. 


. Baptism in the waters of the Tronto of citizens, including Polisia. 
. Miracle, happening on Emidio’s beheading, when he rose and 


walked towards the tomb. 


. The funeral of Emidio in Ascoli Piceno, provided by Bishop 


Claudius. 


Meg, ¢ leded ef bandos — 


Goare beeen 


tit 0 


G. RUGER DONOHO 


145—La Marcellerie 
4 a a Ms eo 


The foreground is a meadow, in which pale yellow, long grass 
grows irregularly from the green undergrowth of herbage. Some 
distance back towards the left a laborer stands sharpening his scythe. 
Behind him a strip of light crosses the picture, bordering a hedgerow 
and line of trees, through a gap in which appears a tree-circled glade 


illumined with pale light. 


Signed at the right, G. Ruger Donoho, Paris. 
Height, 51 inches; length, 77 inches. 


AMERICAN ART ASSOCIATION, 
MANAGERS 


Tuomas E. Kirsy, 
Auctioneer eer 


236. 27/- 


ARTISTS REPRESENTED AND 


THEIR WORKS 


ARTIST SUBJECT 


ACHENBACH, A. 


Landscape and River 


AERNI, F. 
A Mountain Pass 
Italian Village 
ASTI, A. 
A Nude Girl 
BAGGE, M. V. 
The Engadine 
A Norwegian Lake 
BAIL, J. 
Drawing Water 
Marmiton avec Son Chien 
BAUR, A. 


Marauders in the Thirty Years’ War 


CATALOGUE 
NUMBER 


76 


126 


56. 


79 


ARTIST 


BEARD, W. H. eae 
: Worn Out 


BENTO R ESS]. 
A Cardinal 


BERNE-BELLECOUR, E. P. 
Sentinels 


The Trooper’s Story 


BESNARD (After) 
—s Nude 


BONHEUR, ROSA 
Don Quixote Escorted Home 
A Normandy Horse 


Ram’s Head 


BONNAT, LEON 
Italian Girl 


BOUGUEREAU, W.-A, 
Asleep 


BRADFORD, W. 
A Polar Expedition 


Waiting 


ARTIST SUBJECT 
BRETON, JULES 
Harvesting the Poppies 


CABANEL, A. 
Study of Female Figure 


CAKRSLTENS, J. V. 
A Sporting Monk 


CASANOVA, A. 
An Uncanonical Courtship 


CEDERSTROM, BARON T. VON 


Examining the Treasures 


CHLEBOWSKI], ST. 
La Marmite: Zebeks 4 Andrinople 


COLEMAN, C. C. 
Landscape 


The sheep told 


CORCOS, M. V. 
The Proposal 


“Do Tell Me!” 


CATALOGUE 
NUMBER 


122 


23 


20 


31 


43 


119 


uA ere Ces 
COROT, 4]. BG = 
Castle and Forest, Lombardy : 


Avenue of Trees 


CORRODI, H. 
New Bridge in Constantinople 


View on the Nile 


Evening on the Lagoons 


CORRODI, S. 
Avenue in Tivoli 


Tivoli 


Bay of Naples 


ECGUVE-aA 
Landscape with Cows and Ruins 


DAUBIGNY, C. F. | 
Summer 


DAMIS, ar, 
Portrait of Lafayette 


DECAMPS, A. : 
A Mountain Gorge 


DEFREGGER, F. 
A Tyrolese Wooing 


ARTIST SUBJECT 


DEMONT, A. L. 
Sunset on the Coast 


DETAILLE, E. 
Officer Ordering an Advance 


DIAZ, N. V. 
The Awakening of Love 


Fontainebleau Forest 


DOLGIC. 


Lucrezia- Borgia 


DONOHO, G. R. 
On the Coast of Egypt 


La Marcellerie 


DOU, GERARD 


Old Woman Chopping Onions by Candlelight 


DUPRE JULES 


Sunset 


Village near the Sea 


DUPRE, VICTOR 
Landscape and Cottages 


CATALOGUE 
NUMBER 


55 


34 


64 


106 


128 


61 


145 


af 


If2 


18 


; ARTIST SUBJECT 
DYE, CLARKSON 
Street Scene: Winter 


EHRENTRAUT, J. 
| _ A Halberdier Saluting 


ETIOLLES, HELEN LE ROY D’ 
Head of an Old Man 


FAVRETTO, G. : 
Trimming the Vines 


GEROME, J. L. E. 


A Morocco Beauty 


GUARDI, F. 


View of the Square of St. Mark’s, Venice 


PANO). De 
Cows and Landscape 74. 


HENNER, J. J. 
Head of a Girl 16: 


JACQUE, CHARLES 
Poultry 83 


CATALOGUE 


ARTIS 
2 SUBJECT aan 


JANSSENS, C. VAN C. 


Dutch Gentleman 129 
JORIS, PIO 
A Meeting on the Tivoli Road 22 
KAUFFMANN, HUGO 
A Village Auction 7 72 
KINNARD, HENRY 
Summer 14 
KNAUS, LUDWIG 
A Gypsy Mother 48 


KNIGHT, D. RIDGWAY 


Washerwomen at Poissy 75 


KNOLL, W. 
River and Mountains 59 
KNUPFER, B. 
A Sea Nymph IOI 


KOEKKOEK, J. H. B. 
Coast and Marine 38 


ARTIST SUBJECT CAT SEOENS 


NUMBER 
KRONBERGER, C. 
Head of an Old Woman 84 
LAU PHEIMER, I. 
A Flirtation 95 


LAW RENCE Si Rais 


Portrait of the Rev. Burroughs Thomas Norgate, M.A., 
at the age of twenty-three 132 


VAZERGES Use 


The Gleaners 45 
DEN BACHE: 
Pope Leo XIII. 63 
LEPINE, S. 
L’Estacada 21 
TSO RA AY 
Returning Huntsman 33 
The Halberdier 103 
EESST, TIO 
Interior of a Public Library at Florence 62 
LOWITH, W. 


The Connoisseurs 96 


ARTIST SUBJECT 


MACCART, C. 


A Set of Cartoons 


MADRAZO, R. DE 
| A Love Song 


MAKART, HANS 
‘A Midsummer Night’s Dream ”’ 


MARCUCCI 
An Italian Peasant Girl 


Italian Shepherd Boy 


MARIANI, C. 


A Series of Cartoons 


MAUVE, A. 
A Holland Landscape 


MAX, GABRIEL 
A Fair Maiden 


A Girl’s Head 


MEISSONIER, J. L. E. 


Papa Pierre 


The Philosopher 


CATALOGUE 
NUMBER 


144 


46 


SI 


143 


42 


24 


97 


86 


I0O 


ARTIST SUBJECT 


MEYER VON BREMEN 


Field Flowers 


WE LISI OR ays as 
The Washerwoman 


MULEER SCA? 


CATALOGUE 
NUMBER 


88 


107 


Scene at the Conciergerie Prison during the Roll-call of the Last 


Victims of the Reign of Terror, 9th Thermidor, 1793 


MUNGER, G. 


Landscape: Near Franchard 


MU RILEO?. 5.7L, 


Mary Magdalen at Prayer 


NEU VIVE SADE 
The Halt 


PETTENKOFEN, A. VON 
A Market in Hungary 


Les Amoureux 


RAMSAY-LAMONT, L. 
Woman Harvesting 


78 


53 


139 


30 


87 
93 


39 


1 
7 


ARTIST SUBJECT CATALOGUE 


NUMBER 
meee Ci, C. 
The Letter Writer 3 
REMBRANDT VAN RYN 
Portrait of an Old Man 134 
RENOUF, E. 
** Last Repair, My Poor Friend !”’ 80 
RICO, MARTIN 
Venice 92 
RINALDI, C. 
A Good Story 47 
Grandmother’s Darling 67 
ROUSSEAU, T. 
Sunset after Rain 108 
Le Puy 114 
RUBENS, P. P. 
Portrait of a Gentleman 136 
The Holy Family 141 


SCHLESSINGER, F. 
The New Scholar 36 


ARTIST SUBJECT 


SCHODL, M. 
Still Life 


SCHREVER ~A. 


Arabs Crossing a Stream 


SIEMIRADZKI, H. 
The Sword Dance 


SIGNORINI, G. 
The Convivial Cardinals 


SIGRISTE, J. G. 


Napoleon and his Generals Consulting 


SPERL, A. 
The New Suit 


STOCKS, M. 
Kittens and Pug 


TAMBURINI, C. 
Monk Chanting 


TIRATELEI AG 
Washerwomen : Rome 


Fighting Bulls 


CATALOGUE 
NUMBER 


QO 


68 


73 


If 


116 


IIE 


I1z 


28 


a7 
SE 


CATALOGUE 


ARTIST SUBJECT NUMBER 
TITIAN 

Portrait of Antonio Grimani, Doge of Venice 138 

TOULMOUCHE, A. 
The Miniature erat 

TROYON, C. 

Cow and Dog 58 
Landscape and Cattle 124 

TURNER, J. M. W. 
| Port of Ravenna 133 
Landscape with Cows 135 

WERBOECKHOVEN, E. J. 
Goat and Calf 82 
VIBERT, J. G. 

Absent Minded 40 
After the Masquerade 89 

VOLK, DOUGLAS 
The Model 35 


WEX, WILL 
Sunset 115 


. CATALOGUE 
ARTIST SUBJECT 


NUMBER 

WOODWARD, L. 
Arch Creek, Florida 7 
Ocklawaha Landing, Florida 12 

WORMS, JULES 
A Stolen Kiss 65 
ZIMMERMANN, E. 
The Alchemist 29 

UNKNOWN 

Marine 13 
A Copy after Fra Angelico 98 
A Copy after Fra Angelico 99 
Copy after Turner’s ‘‘ Childe Harold’s Pilgrimage ”’ 117 
‘The Church Beggar 131 


Christ and St. Thomas 142 


Wig: 


ABLE PAINTINGS 


‘ 


VALU 


ee 
PE all RST FORE TR SE OMI L ME LIER RR TR RT 
es " 3 . s 


COLLECTED BY THE LATE 


ei nasi, SAP RT PORE: 5° 


PE TET 


OG a I fo AT Ae ATTY ES 


Pe Ee Be, ? 


Os mcg 


Ss ante Hye 
=e e 


a= ee 


e 
4 
k 


1) 


Oo or 


IO 


Pie VENINGS SALE 


TUESDAY, APRIL FIRST 


AT MENDELSSOHN HALL 


ForTIeETH STREET, East oF BROADWAY 


BEGINNING PROMPTLY AT 8.30 O’CLOCK 


Asleep 

Landscape 

The Letter Writer 
The Sheep Fold 

Street Scene: Winter 
A Mountain Gorge 
Arch Creek, Florida 
An Italian Peasant Girl 
Nude 


Italian Shepherd Boy 


3 


W. A. Bouguereau 


H. Coleman 
Ca icauen 

H. Coleman 
Clarkson Dye 
A. Decamps 
L. Woodward 
Marcucci 


After Besnard 


Marcucci 


a 


25 
26 


27 


The Convivial Cardinals — G. Signorini 


Ocklawaha Landing, Florida L. Woodward 


Marine Unknown 
Summer H. Kinnard 
Avenue in Tivoli S. Corrodi 
Head of a Girl J. J. Henner 
Tivoli S. Corrodi 
Landscape and Cottages Victor Dupré 


Don Quixote Escorted Home 
Rosa Bonheur 


An Uncanonical Courtship 
Antonio Casanova y Estorach 


L’Estacada 5S Leépine 
A Meeting on the Tivoli Road Pio Joris 

| Study of Female Figure A. Cabanel 
A Fair Maiden G, Max 
A Tyrolese Wooing F. Defregger = 
A Halberdier Saluting J. Ehrentraut 
Italian Girl L. Bonnat 


a 
On 4 


5 


Fe YZ 28 Monk Chanting C. Tamburini 
| ia 
ie /) 29 The Alchemist E. Zimmermann 
neelS" The Platt A. de Neuville 
| 31 Examining the Treasures 
& Baron T. von Cederstrém 
32 Head of an Old Man 
Helen Le Roy d’Etiolles 
4 33 Returning Huntsman A. A. Lesrel 
| ae 34 Officer Ordering an Advance  E. Detaille 
{ 
2 35 The Model Douglas Volk, N.A. 
4 
| 36 The New Scholar Felix Schlesinger 
; 37 Washerwomen : Rome A. Tiratelli 


Coast and Marine Jan H. B. Koekkoek 


Woman Harvesting 
Mile. L. Ramsay-Lamont 


Absent Minded VG, Vibert 
The Miniature A. Toulmouche 
A Holland Landscape A. Mauve 


La Marmite : Zeybeks 4 Andrinople 
| St. Chlebowski 


5 


| ‘. W Waa 


Adds 04s 


46 

47 

; 48 

— 

50 

51 

52 

53 

thle ee 54 

A hes a - 55 
eS 

56 


>) aL Gérome 


A Morocco Beauty 


The Gleaners Paul Lazerges 


A Love Song R. de Madrazo 


A Good Story C. Rinaldi 


A Gypsy Mother Ludwig Knaus 


Drawing Water Joseph Bail 
The Engadine Magnus V. Bagge 
Fighting Bulls A. Tiratelli 
Castle and Forest, Lombardy J. B. C. Cordét 
Landscape: Near Franchard  “G, Munger 
A Normandy Horse | Rosa Bonheur 


Sunset on the Coast A. L. Demont 


Marmiton avec Son Chien 


Joseph Bail 


Sunset Jules Dupré 
Cow and Dog C. Troyon 
River and Mountains W. Knoll 
A Polar Expedition W. Bradford 


On the Coast of Egypt G. Ruger Donoho 


6 


Interior of a Public Library at Florence 


T. Lessi 
Pope Leo XIII. Franz Lenbach 
The Awakening of Love N. V. Diaz 
A Stolen Kiss Jules Worms 
A Sporting Monk J. V. Carstens 
Grandmother’s Darling C. Rinaldi 
Arabs Crossing a Stream A, Schreyer 


A Norwegian Lake Magnus V. Bagge 


Portrait of Lafayette Je PoDavis 
Worn Out W.H. Beard, N.A. 
A Village Auction Hugo Kauffmann 
The Sword Dance H. Siemiradzki 


Cows and Landscape Welt: decbiaas 


Washerwomen at Poissy 


D. Ridgway Knight 
Landscape and River A. Achenbach 


New Bridge in Constantinople H. Corrodi 
7 


| O10 Kero 
ee . 78 Scene at the Conciergerie Prison during 
act the Roll-call of the Last Victims of the 

Reign of Terror, 9th Thermidor, 1793 
C. L. Miller 
79 Marauders in the Thirty Years’ War 

AS Baur 
Mn Aes “Last Repair, My Poor Friend!” | 
Cae E. Renouf 


81 “A Midsummer Night’s Dream ” 
Hans Makart 


8 


SECOND AND LAST EVENINC’S 
SALE 


WEDNESDAY, APRIL SECOND 


AT MENDELSSOHN HALL 


ForTIETH STREET, East or BROADWAY 


BEGINNING PROMPTLY AT 8.30 O’CLOCK 


baa 82 Goat and Calf E. J. Verboeckhoven 
83 Poultry Charles Jacque 

84 Head of an Old Woman Carl Kronberger 

85 Trimming the Vines G. Favretto 

86 Papa Pierre J. L. E. Meissonier 

| 87 A Market in Hungary A. von Pettenkofen 
jy" 88 Field Flowers Meyer von Bremen 
ee 89 After the Masquerade J. G. Vibert 
: hey 90 Still Life Max Schédl 
91 Sentinels E. P. Berne-Bellecour 


AR 
93 
94 
95 
| 96 
| veal 97 
98 
99 
y, ci os LOO 
Dee 
,on'l 
IOI 
=, 
YAnre — 102 
Cnet | 
103 
S¥ Ane 104 
1] 
TO5 
yl 
BoC 106 
ov {ee} 
toy 


Martin Rico 


Venice 


Les Amoureux A. von Pettenkofen 


A Cardinal 


J. Benlliure 


A Flirtation I. Laupheimer 


W. Loéwith 


The Connoisseurs 


A Girl’s Head Gabriel Max 


A Copy after Fra Angelico Unknown 


A Copy after Fra Angelico Unknown 


The Philosopher J. L. E. Meissonier 


A Sea Nymph Benes Knipfer 


The Trooper’s Story 
e E. P. Berne-Bellecour 


The Halberdier A. A. Lesrel 


Summer C. F. Daubigny 
Bay of Naples S. Corrodi 
Fontainebleau Forest N. V. Diaz 
The Washerwoman J. Te ities 


Sunset after Rain T. Rousseau 


Io 


-Ram’s Head 

110 Avenue of Trees 
111 The New Suit 

112 Village near the Sea 
113 Kittens and Pug 


= “\ 
elt Ger uy 


Pie Sunset 


Rosa Bonheur 
tbe. Cordét 
A. Sperl 
Jules Dupré 
M. Stocks 

T. Rousseau 


Will Wex 


116 Napoleon and his Generals Consulting 


1, .G, igriste 


117 Moov aiter Turner's “Childe Harold’s 


” 


Pilgrimage 

118 The Proposal 
mito 2. Do Tell Me!” 

120 View on the Nile 

121 A Mountain Pass 

122 Harvesting the Poppies 
| u23 | Gai 

‘2 

> OY Ls aes e and Cattle 
exe, ped La Pp 


125 Italian Village 


Unknown 

M. V. Corcos 
M. V. Corcos 
H. Corrodi 
PerAemi 
Jules Breton 
W. Bradford 
C. Troyon 

Pr Aerni 


126 
127 
128 


129 


130 
131 
132 
134 


135 


136 
137 
138 


139 


A Nude Girl A. Asti 


Evening on the Lagoons H. Corrodi 
Lucrezia Borgia Carlo Dolci 
Dutch Gentleman C. van C. Janssens 


Old Woman Chopping Onions by Candle- 
light Gerard Dou 


The Church Beggar Old Master 
Portrait of the Rev. Burroughs Thomas 


Norgate, M.A., at the Age of Twenty- 
three Sir Thomas Lawrence, P.R.A. 


Portrait of an Old Man 
Rembrandt Van Ryn 


Landscape with Cows J. M. W. Turner 


Portrait of a Gentleman 
Peter Paul Rubens 


View of the Square of St. Mark’s, Venice 


F. Guardi | 


Portrait of Antonio Grimani, Doge of 
Venice Titian 


Mary Magdalen at Prayer B. E. Murillo 


I2 


. 
» + ~ d ‘ 
- “igi ie ee eas als uae — Le ie a See ea RT reer ewer a i i ig 2 me 
ae Ps 0 Sa ai cee, he ee OTe FIED TEESE Ee LOE oe OL py nD Al I le Ph ee NS eR ish Se Lae 28, 


oe 4 OTHE = 


140 


I4I 
142 


143 
145 


Bons 


Landscape with Cows and Ruins 
Aelbert Cuyp 


The Holy Family Peter Paul Rubens 


Christ and St. Thomas 
Unknown Old Master 


Eight Cartoons in One Frame C. Mariani 


La Marcellerie G. Ruger Donoho 


AMERICAN ART ASSOCIATION, 
MANAGERS, 


THOMAS E. KIRBY, 


Auctioneer. 
13 


o 


Se Co Ramer 


‘ f ‘ a 


ma i at ln a 


‘ m 
0 wy ; 
” ti Ky th a Ale 
Me aM oS atl AEE ig oe 
Yi re RAEN eC 


So LE MOTT yee ae 


oes ini =" 


Bee 


+ Bs Die 3 
a 


7 Ms cr 
hoa to a - + 
tg) 
AG =, 
: ; 
be 
¥ i 
Pa e+ d 
‘ s 
j : 
a 
, > 
’ 
i ‘ 
* v 
‘ 
=.) 
en 
re 
~ j y 
. 
< a 
Pu 
- - 7 
} 
‘ 
; 
i 
f' + 
5 ) sa a 
. od ; 
- K 
2 * 
Pt 
& 
? 
- 
* 
at 
a3 
pa 
‘ 
c 
’ 
- ee 
i 
7 4 


iE 


iii 


inion 


- 5 tee 
t Rte se SPCR TSO, 
TESt or One Ht pbyl Ranh 
sabe +3 Ftd 9 ey pi, 
Mein mab geainy WENT ie 


fed cae 
Nh mht il ag 
area lilbacs 
ee witha ibiwty 
iy plates a te 
bts Aiba MEDS ate a 
Ls Hh 
i FORGE cone + i 
te Rifts wh <a Vas: atta i i | ig 
Aeirtitelpie reat rant 
4 


it a 
f 


faint fateh 


rectebed #4 Rhee sd) bia 
fey 


POU Ml te 
BO 


Wxae) Adiegay 
4 hat Gu 
ni thie 


They 


ae ind Fi 
Sites Fee ils 
ish ‘ 


SOW NV eH ef my 
: y hi he it 
ae ce Ne 
rice 


i> Adi ireedy 
eure aie; eed eait 


balohr re Yaa 
sechia Geiger ae 
He vah ay hayes te 
tary iy 
uf 


ee 
>i vt 


IALe Aoi li it 
Seihrrigett OMT BUDE pa 
Pee eh igi: 
itta 


heb 

rising ‘ ays 
Sense Wejags ines hau, 

VaR aa a ute 

4 cae 


why 
* is 
ue ye 
Re * i 
“i 4 PRED OLE gy a ¥ 
SOe SP eL) HEAPS pDe 

ieee ie sip nnet tenants 

PETS B bday. 


rerhebad eke eel: i 
atts eae : 


Gited 
pia 


hee ree 


ay 
: itn ies 


ke 
ha Heces a 


* ttt 


ie it 
ie aise 
chesney tnt i ie Bad 


= Hain 


te 
f 


AF EEE 
BEAR yee: 


epee trate be, 


fet taba tet 


ae ye ie rp 


Hie malate 


* ut 
en 


he 
ue 
ae 
© 
Haren 
ria mnie Naa iets 
ur diebe ij mene acre Nee 
He 
saat 


So 
tain es ati et i i 
Ween ae 


ee 
Vahey ty 
Hd) ait tryed ne ata 
° siete 


eat 


fat ey id bubs #4: ste Hida: 


ie Ueto , 
Hinds sreiadire st 
ahre bey 
4 SPURS. fib 


ta ee 
iy Leititteay) 
tae iWecenscre 
HLA rites 


Leis 4 bets 
is ae Wrote ces, 
sit Senet 


bees ty' ej 
* 
fester cn 


bein i ihe DI 
Mente atta 
of 


fit 
ia iin 


et Mada Gita ad 
ae ie rie 


te 
saieaated nice 


eae 
tie re rae) 


eset 
bile rie mi 


hig Wd onan hl rhe aw 
¥1 i Wetted 
rim be 
Ds Sh Gel bus 
Reseda. 
Lfad op epee 
Sb ee 
desta teb 


Teeny, 


Bisbee: Repay 
it * oe 


Py bores HAS te 
a bilsae i 


i abe 
Mee RRA 


ik wt ef 4 
BGR E 
Kinghy: 


aa At 


hE lig 
iret 8 fy af b> ttedh: i 

Aah AS USF Bran let Minket ete 
rile eh Bs le he Ek 

ast ies ae ny 

TTR Pietis 4 


t 
yee 


ty ep bbs 
$hetes: Heb by 

BI hips big 
sit + 


t 

st}: sirities : 
SPORE) Pa, j 
AGhean a wale 
' Mi 

‘AE RAILS 
PRD RDAD Bey? 
neal 


Bint 


risprei 


bvideae aad hal Hy 
Lenk bititae 
Fae t 


te bee ey panes 


Stee 4 Of: 
‘ it oun i ai 
Hee 
1) 
sale 
rites eibis 


ae fist MSL 


i re 


pie el Mat) yo H 


Pi Ries bet 
hi, 
ats : HH 


bs aie 
ean 


EHUtert i Bad 
na La tote tat] 
Paty 
pha ic 


WsUPLTAN Mp 
ii ‘ 
a 


aia: 

erences 
renensitis 
Senet 


at ne 
4 Hertgint fe 
Magli 


1 \ yeasts 
Mid pa 
Fike by 
a IROe apes 
HEAR EEL ett 
utirets 


Prnicneeeiet 
voelts eet tie) he 


on a 
iM) 


ita i aie 


™ 


ids4ia ty) 


shea he Crit +he 


tii Ha tala 


ie pile 
note pen ee rt 


Bee il 


nH tF 
ay Rae Wd 
ae it aes 
pee) 


TUG PL ees iG 
a ie vy Pie * lise 
So mer i : eit ute ‘ 


beet 
ys ae 

S07) ShsGD spite 

Pied iNet noni 

tag He 

* 

i meta 

iil * 


N | 
ae inate asd 


i] wi +h % 

1 i ith 
TH BrGSH he ye, 
tiitae 4 i 


Arlt n 
i ed rhe Abe 
Gp iaualie ish. 
ae ena Na 
sie net Tshrtaiener | 


(eates 
hea 


i Aa A bit 
hokage 


nine 


HM ay, 
. 


CED be pay 
ete isis thee boy 
Eilts et Utara y 
Weleurgs ne te hae 
ree #8) re 


tila 
ag: Prieksin 


okt Phaibe ints, 
Hava’ 


MU y 
ae sahilih te 
i een i 


UCTS letnky 
Hi HER it 
ata Pant 
eeu i 
LS tarity 

j eatin BaedtnAL Ay 

bee ease a cay 
aa hil 4 ti PtH 
mar HBL rf 


a Wrati ES at 


ati : saci 


OPdehere yy 
aa f 


Wiehe 


. hae! 
sf TG 


pee 
He 


hea 
a rine : Me 


ae pene ae 


riety 
Hua 
)! verk iiss * 
ati Phebe] 


seat 


ma dectat 
Hat ere 


ae 


be 
ruiete: 


feed i it 
ne nan mi 
i345 


ei aha 
Setrentiuni tent 


titan iit 
i serene 
ae 


fai 
aa 


re it 


atria! 


Heh el 1 Mi ny 

rid ‘é op 

ened ne Atte 

s Hh 3 He ‘i nt 
Par yi 

Lint bite ae 
Hata Woy 


daca 


ti i 
*ieisiest oliek 


bata 
Hea 


oo 
#laye 


uA) 
{these ‘i Lr ebae ith 
Shy Lhe ae 
nit uring 
it relat ey 
eae 
risivaeystenty 
Hise GFAP VER 
Hebeile tie ii 
Hroleiieneg) a? Be ey 
ie ae 
‘ alia ta 
+ bei i$ tern Dee e age 
ri 


ae 


Velie ing 
Fe ttieme deg 


ice i" 

mura eientgtts * edie 

rib Re he ohh i Hee 
Patt reds lef epspe g 

MP eve pedey Niviehene dn ‘ 


Meee Me ie he a Hijed 3 
BSL dF ir be vic Oe leeeaien. 


i 


ie la 


; Hates 
NL ASAA erie Lp 


pit ine Hiei Y 
A 
ae HOH Hat Salt Heiede 
iy wits AN Penh ts ay 

j UDA |) fire iN 


Hite aay 
dbtete 
euth i ih 
maa hia 
eh init aan 
ate Bi 
iit 


epetee 


i { 
pa ie 
‘f ff rh 


7 
Reith 


vai 


te K 
ett oe 
ht ha he He Ha ithe f i 

ara FY ii bse! Hb ls 

ant Abe ae CHM 

Rae 

hie 


Chelly 


Liq 
Met a 
wee 


telpak 


tvs 
Mn 
ae tk nl ' eH iyit ’ 
lit Hie EIN ELE eA Leh ba tah oe A mali YE 
bat Seay META A aida rae ratte: f 
ehepyee Orie he MOU RY Be cel 
4 4 SUM Deca eerie Sa tah WARE 
ARH hued lee if Hy haji 
HS wl 
cantar he 


sail ‘ 


ya 
i fe 4 


» 


ENE i) min br) 


yaa aban bene 
inte ‘4 nat HOH begs 


f att 


Tey 


i} 
i GPs SENSI ite 


tt 


